Theoretical perspectives on clave in salsa music
department or school: Arts, Faculty of
department or school: Music, School of
data provider: DSpace
degree campus: UBCV
creator: Bin Md Tarip, Muhammad Taufik Azri
issued: 2016-04-14T02:15:02
issued: 2016
related degree: Master of Arts - MA
degree grantor: University of British Columbia
description: Salsa music incorporates clave—a five-onset rhythmic gesture that exists in Afro-Cuban and Latin American music—as a primary rhythmic “skeleton,” meaning that the music must “fit” within clave’s rhythmic, metric, and rhetorical principles. However, several salsa genres, such as mambo, do not feature the clave explicitly. Instead, the clave is translated into other musical elements, such as melody and accompanying figures. This thesis investigates the operation of clave in mambo songs that do not explicitly present it. It first examines the rhythmic fabric and metrical structure of short introductory musical examples, and considers ways that they do and do not correspond to the clave’s rhythmic and metric processes. It then applies the theoretical apparatus to sections of “La Malanga” by Rudy Calzado and Eddie Palmieri and “Bilongo” by Guillermo Rodríguez Fiffé and Tito Rodríguez. The investigation reveals how each of a song’s elements reflects the clave pattern either strictly or loosely, and if there is any ambiguity. It shows how changes in the conformance with clave can give large-scale shape and direction to the sectional form.
aggregated CHO: https://circle.library.ubc.ca/rest/handle/2429/57593
note: THEORETICAL PERSPECTIVES ON CLAVE IN SALSA MUSIC by Muhammad Taufik Azri Bin Md Tarip B.A., B.Sc., University of Minnesota-Twin Cities, 2012 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Music) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2016 © Muhammad Taufik Azri Bin Md Tarip, 2016 ii Abstract Salsa music incorporates clave—a five-onset rhythmic gesture that exists in Afro-Cuban and Latin American music—as a primary rhythmic “skeleton,” meaning that the music must “fit” within clave’s rhythmic, metric, and rhetorical principles. However, several salsa genres, such as mambo, do not feature the clave explicitly. Instead, the clave is translated into other musical elements, such as melody and accompanying figures. This thesis investigates the operation of clave in mambo songs that do not explicitly present it. It first examines the rhythmic fabric and metrical structure of short introductory musical examples, and considers ways that they do and do not correspond to the clave’s rhythmic and metric processes. It then applies the theoretical apparatus to sections of “La Malanga” by Rudy Calzado and Eddie Palmieri and “Bilongo” by Guillermo Rodríguez Fiffé and Tito Rodríguez. The investigation reveals how each of a song’s elements reflects the clave pattern either strictly or loosely, and if there is any ambiguity. It shows how changes in the conformance with clave can give large-scale shape and direction to the sectional form. iii Preface This thesis is original, unpublished, independent work by the author. Pitches in musical figures that are taken from the original sources are not transposed or recomposed. Pitchless, percussive figures adapted from Peñalosa and Mauleon, in particular, Figure 1.3, 1.4, 1.5, and 1.14 are reduced into one single layer. iv Table of Contents Abstract ..................................................................................…
has type: Thesis/Dissertation
date issued: 2016-05
is shown at: 10.14288/1.0228889
language: eng
degree discipline: Music
provider: Vancouver : University of British Columbia Library
publisher: University of British Columbia
rights: Attribution-NonCommercial-NoDerivatives 4.0 International
rights URI: http://creativecommons.org/licenses/by-nc-nd/4.0/
scholar level: Graduate
type: Text
identifier URI: http://hdl.handle.net/2429/57593