Month: November 2020

Why does Dr. Munarriz consider the label “Latin American Music” problematic? Do you agree or disagree with his position? Why?

The problem with the label “Latin American Music” is that it encompasses a multitude of distinct musical styles and genres from across a huge diversity of cultures. I agree with his statement that regardless of whether we end up using certain or not, it’s important to be aware of the implications they carry. Now that I’ve watched (watched!! With visuals!!!!!) Dr. Munarriz’s lecture, I think that with a better awareness for specific terms comes an appreciation for more distinct styles of music. Using the general label without understanding what it refers to can erase the actual diversity within “Latin American Music.”

What is the difference between Latin American Music and Latin Music?

Latin American Music is created by Latin Americans in Latin America. Latin Music refers to music created by citizens or residents of the US with Latin American heritage.

What are ostinatos and how are they used in many Caribbean and Latin American musical expressions?

In Caribbean and Latin American musics, unlike most Western music, an ostinato can be specific to a certain style or region. It’s usually a rhythmic “anchor” that structures the entire piece.

What are some of the Latin American expressions in which the so called “Habanera Pattern” can be easily identified?

The contradanza, tumba francesa, quadrille, and payada are just a few. After listening to this session, I’m hearing it everywhere…even when it isn’t there!

These pieces of music that are full of discrepancies still feel very direct and purposeful. The vocals in particular often fall behind, but somehow also propel the song forward. I think this has something to do with intention. I’m going to assume that the intonation and rhythmic discrepancies in these pieces are not a mistake, since they are all recordings and recordings can be re-made is if, say, the drummer was accidentally on another planet the entire time. So, the discrepancies are intentional, or at least are being embraced by the musicians. I think that if these discrepancies weren’t being made with total confidence, they would sound more like mistakes.

This idea of making room for imperfection is something I’m learning about in my own performance. I am learning that there is no space for doubt or judgement between the intent to make a sound and the sound itself. I’m beginning to realize that what I consider to be technical “perfection”— singing the correct pitches at the right time with good vowels and consonants and breathing and phrasing etc etc etc, is practically impossible to achieve by trying to exert control over all those elements. My “best singing” actually comes from a place of hearing music and hearing my own voice within it, of believing that everything is working together the moment before it does. No matter how much I focus on taking a good breath, I invariably take a better one by simply “feeling the music.”

I haven’t really described any of the pieces here, but it feels more important to me to think about why the discrepancies are not mistakes in these pieces, and how despite their existing around pitches and beats, they still feel so unified. Though the songs are quite different, they all sound to me like people having fun, indeed, being human—I think this is key. I think that enjoyment of, or at least deep immersion in the musical process is more important than any ideal of “keeping time” or “perfect intonation.” Achieving these abstract forms is not what compels us—having fun, in my experience, is actually a crucial ingredient in “correct” playing.

In music schools of the near future, I would like to see more consideration given towards why we make music. Many music teachers already encourage their students to think about their purpose and identity as musicians, but making this explicit in curriculum might make for a radically different education. If, instead of making sure students have a thorough understanding of the history, structure, and performance of mostly white, Western musicians, all courses might be geared toward concepts of community, diversity, and self-expression, for example. With these ideas in mind, things like learning figured bass become less crucial, and dancing much more so.

The thought of making room for all different kinds of music theory had me worried that with a smattering of so many things, I wouldn’t have a solid grounding in any one of them to rely on. Obviously, this kind of thinking is a result of my white racial bias and fear of any hard work that would put me outside the comfortable and limited realm of what I know. I realize that a typical music degree prepares one to study and play and write and experience music in a limited way. If my goal as a musician is to play and understand Western Classical music really well, then that’s perfect. But why should that be all? What is the point of being a musician in the first place? For me, it’s to connect with other people and to express myself. If connection is the ideal, it seems much more natural to give non-white/male/dead composers and musicians as much attention as we now give Bach.

Singers like myself often chase a sound that was developed in 18^th century Europe and continues to be the ideal in Westen Classical music. I never questioned that this is the ‘most correct’ and most elevated way to perform. My voice teacher recently showed me a recording of Aretha Franklin singing ‘Nessun Dorma,’ and it opened so many doors for me! She sang the piece with absolute power and fantastic expression, all with her distinctly jazz/R&B vocal. My ‘common sense’ said, this piece should be sung with a certain intonation, diction, etc, but all of those intuitions really come down to the euro-centric framework of music that I’ve learned. If music pedagogy and, as a result, musicianship generally were more consciously focussed on the power and purpose of music-making (promoting diversity, collaboration, and an appreciation for many cultures, for another example), voices of all kinds would sing in many different styles. I think this would produce insightful, creative, and much less uptight musicians.