Book contents
- The Cambridge Companion to Rhythm
- Cambridge Companions to Music
- The Cambridge Companion to Rhythm
- Copyright page
- Contents
- Figures
- Tables
- Music Examples
- Notes on Contributors
- Acknowledgments
- Introduction
- Part I Overview of Rhythm
- Part II Performing Rhythm
- Part III Composing with Rhythm
- Part IV Rhythm in Jazz and Popular Music
- Part V Rhythm in Global Musics
- 13 The Musical Rhythm of Agbadza Songs
- 14 Rhythmic Thought and Practice in the Indian Subcontinent
- 15 The Draw of Balinese Rhythm
- 16 Rhythmic Structures in Latin American and Caribbean Music
- 17 Indigenous Rhythm and Dance in North and South America
- Part VI Epilogue
- Select Bibliography
- Index
16 - Rhythmic Structures in Latin American and Caribbean Music
from Part V - Rhythm in Global Musics
Published online by Cambridge University Press: 18 September 2020
- The Cambridge Companion to Rhythm
- Cambridge Companions to Music
- The Cambridge Companion to Rhythm
- Copyright page
- Contents
- Figures
- Tables
- Music Examples
- Notes on Contributors
- Acknowledgments
- Introduction
- Part I Overview of Rhythm
- Part II Performing Rhythm
- Part III Composing with Rhythm
- Part IV Rhythm in Jazz and Popular Music
- Part V Rhythm in Global Musics
- 13 The Musical Rhythm of Agbadza Songs
- 14 Rhythmic Thought and Practice in the Indian Subcontinent
- 15 The Draw of Balinese Rhythm
- 16 Rhythmic Structures in Latin American and Caribbean Music
- 17 Indigenous Rhythm and Dance in North and South America
- Part VI Epilogue
- Select Bibliography
- Index
Summary
For the last century, probably no region has contributed more rhythmic vitality to the global soundscape than Latin America and the Caribbean. More than any other musical element, it has been the uniquely compelling rhythms that have driven the early twentieth-century Parisian vogue of the tango, the transnational spread of salsa and Cuban dance music, and the current global appeal of Jamaican reggae and dance hall. Much of this rhythmic dynamism is a product of the development of syncretic idioms drawing from African as well as European roots. This ongoing and endlessly creative process has generated a great variety of rhythmic styles, and is supplemented by other vital music genres, such as northern Mexican conjunto music and Trinidadian tassa drumming, that owe little or nothing to African influence.
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- Information
- The Cambridge Companion to Rhythm , pp. 283 - 297Publisher: Cambridge University PressPrint publication year: 2020