Through drumming, singing and storytelling children are introduced to the musical traditions and culture of the Caribbean and Latin America. Students learn how to play percussion instruments such as the congas, panderos de plena, bongó and other hand drums, as well as güiro, maracas, campanas, and cuás (drum sticks). They learn rhythms, songs and stories from Puerto Rico, Cuba, Dominican Republic, Haiti, Venezuela and Colombia and get the opportunity to perform at the end-of-semester class recitals. The focus of the class is on hands-on learning and fun activities, but the curriculum is designed to develop musicianship, physical coordination, bi-lingual literacy skills, multi-cultural awareness, and comfort with public speaking and performance.
Afro Latin Percussion Vol 2 21
Mulatu Astatke is of Christian Amhara descent.[2] Mulatu's family sent the young Mulatu to learn engineering in Wales during the late 1950s. Instead, he began his education at Lindisfarne College near Wrexham before earning a degree in music through studies at the Trinity College of Music in London. He collaborated with jazz vocalist and percussionist Frank Holder. In the 1960s, Mulatu moved to the United States to enroll at Berklee College of Music in Boston. He studied vibraphone and percussion.
Triaz is driven by a diverse and creative library of all-new electronic and acoustic drum sounds, percussion, and sound design tools; Comprising over 10,000 samples and 600+ instantly playable presets created using a vast array of drum machines, acoustic drums & percussion, modular synths, found sounds, studio tools, Foley and more.
Artists featured on this project include legendary Cuban musicians such as Los Van Van, alongside Grupo De Experimentación, Farah Maria, Ricardo Eddy Martinez, Juan Pablo Torres, Grupo Sintesis and Orquesta Riverside. Mostly names that remain largely unknown outside of Cuba, their music is jam-packed with heavy bass lines, synth and Wah-Wah guitar funk, combined with heavyweight percussion, powerful brass lines and the all-encompassing Cuban-Latin rhythms that are known and loved throughout the world.
On the program this time, we celebrate bongo music. During the Atomic Age, bongos had a moment being associated with beatniks and jazz coffee houses, but it was much more than that. We have lots of great tunes featuring this percussion instrument including a set featuring the man called Mr. Bongo, Jack Costanzo.
This, then, is the organization of a reggae rhythm. In performance and recording this framework is virtually always filled out and elaborated with a combination of percussion instruments, keyboards, horns, secondary guitars, and occasional accessory instruments. Significantly, a strongly improvisational element enters the music with the use of Rastafarian percussion and drums. [23] Although reggae performances frequently omit this Nyabingi component of the music, the particular rhythms associated with this distinctively African-Jamaican tradition are usually supplied, or at least implied, by the modern instruments of the ensemble. 2ff7e9595c
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