Reggae music originated from Jamaica in the early 1960's. In the streets and ghettos of Kingston, shortly after independence from Britain in 1962, reggae started to evolve from Mento, which was a local form of Jamaican music in the 30's to what it has become today. Originated in Jamaica, reggae music is recognized by rhythmic accents on the offbeat, usually played by piano, guitar, or sometimes both. Changing American popular music, the genre began to be played in the 1960s producing a new and different sound. Reggae's origins are in traditional African and Caribbean music, American rhythm and blues, and in Jamaican ska and rock steady (Scaruffi, Piero).
The use of a bass track that stands out and the presence of a melody that is fast enough but not too fast to render dancing impossible all point to an R&B genre. The use of musical instruments to complement the music and the pausing of lyrics to allow the listener to enjoy the
With many Africans settling into the beautiful landscape of Jamaica, new musical dawns were on the horizon. While enslaved, Africans developed a new form of music and dance which was known as Mento. Mento remained popular until the 1940s, however, during the early 50s, popular music in Jamaica was usually of US origin. In the late 1950s “Ska” another Jamaican musical innovation emerged. In the mid 60s”Rock Steady”-a slower tempo with emphasis on syncopation-grew out of “Ska”.
All the instruments are played with a percussion like feel; even the pitched instruments like a Marimba, Mbira, or the bells, or even some chordophones are played with a percussion like feeling. It is usually chant-like, and always has a strong beat, which makes it ideal music to dance to. The limited recourses of Africa determine what instruments can be made. African instruments tend to be simpler, and do not require many materials. That’s why there are so many percussion and chordophones, and not many electrophones or aerophones.
The title track Beza Ba Tzo, sounded the same. Very island like but more interesting melodically. I could hear more of a song form in this listen. There was definitely a chorus that was offset by multiple spoken/sung verses. I was disappointed that I could not hear any foot stomping in these recordings.
His opening phrase is indicative of what is to come throughout the piece; Armstrong here begins with a relatively tonally static line (focusing primarily on C), then contrasts it with an F major arpeggio, then returning to stasis on a D on the A flat diminished chord. Alternation between a relatively static phrase and a relatively active phrase is a key element Armstrong uses throughout the solo. This allows for plenty of room to move around tonally without sacrificing a sense of where he is within the chord progression (made all the more difficult by the stop time figures throughout). Perhaps his most striking choice of notes is the D flat in measure 12 on a D7 chord. Because of the nature of the stop time accompaniment, Armstrong is able to use this relatively “out” note as a chromatic appoggiatura of sorts - and to use it extremely effectively.
The articles “The Buena Vista Social Club” by Tanya Katerí Hernandez and “Globalisation and the Tango” by Chris Goertzen and María Susana Azzi have both discussed the issue of the globalisation of Latin American music and how it is portrayed in foreign countries. Cuban son music emerged in the country during the 1910s and by 1930 had gained worldwide success. This style of music, a blend of Spanish canción, Spanish guitar and African rhythms and played in the clave rhythm, provided a key symbol of Afro-Cuban culture and identity while also heavily influencing other musicians and music genres. It provided Havana’s Afro-Cuban lower classes with a source of income and the chance to enter a previously European dominated market. Son was exported to the rest of the world during the 1930s and 1940s and became particularly popular in the United States, also providing the grounds for the creation of salsa music in the 1970s.
Some later beatboxers, notably Rahzel of the Roots, even sing at the same time. Along with the musical scene of hip-hop, the culture also originated its own form of dancing, called breakdancing. It began in the South Bronx, along with the music of hip-hop, and is
Claims have been made for Manu Dibango's "Soul Makossa" (1972), Jerry Butler's "One Night Affair" (1972), the Hues Corporation's "Rock the Boat" (1973), George McCrae's "Rock Your Baby" (1974),[6][20] and "Kung Fu Fighting" (1974) by Biddu and Carl Douglas. The first article about disco was written in September 1973 by Vince Aletti for Rolling Stone magazine. In 1974 New York City's WPIX-FM premiered the first disco radio show. Musical influences include funk, Latin and soul music. The disco sound has soaring, often reverberated vocals over a steady "four-on-the-floor" beat, an eighth note (quaver) or 16th note (semi-quaver) hi-hat pattern with an open hi-hat on the off-beat, and a prominent, syncopated electric bass line sometimes consisting of octaves.
In 1959 a man by the name of Theoptilus Beckford recorded the first ska record. Ska music was a mix of Caribbean mento, jazz and the blues. A group called The Wailers made the next big move in music when they slowed down the tempo in the ska music. When the 1960s came along another music genre came about, reggae. This music style sometimes aquired chanting and emphasized the syncopated beat.