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Analysis of four songs from the listening
The first song is a Yoruba canto written by Israel “Cachao” Lopez. Cachao is a famous Cuban player known for playing the standup bass only. This is an interesting afrocuban canto because it has a counter bass. It talks about the Orisha Elegua repeatedly throughout the chorus and is chanting to this Orisha. I believe it’s either the bata drum or the tumbadoras that can be heard throughout the whole piece keeping the rhythm of the music. I believe song has a toque which is a rhythmic pattern used in Santeria music to induce a trance state.

The second song I analyzed was a Mambo by Beny Morè called “Bonita y Sabroso”. This song talks about how beautiful and tasteful the Mambo is especially the way you dance it. He conveys a lot of emotion and tenderness toward the Mambo in his voice. This song uses a heavy array of tumbadores to keep the rhythm and incorporates European instruments like the trumpets. The mambo is part of Loza’s third phase of AfroCuban music because of how it mixed instruments and added lyrics to Spanish music.



The third song I analyzed was by Miguelito Valdes called “Babalù.” This song acculturated both the music of Santeria and Cuban Son. The song is making a reference to a Santeria deity or saint. The whole song talks about going through steps to appease the diety or saint. The song uses congas throughout and has many conga solos. The use of percussion instrumentation is more predominate then in Mexican son. Also uses tumbao, a technique from Cuban Son that locks the rhythm section.

The fourth song I analyzed was by Edwin colon y Su Taller called “Aguinaldo”. This is song is an example of musica jibara based of Spanish verse and poetics from the working class country people. Edwin Colon is a famous cuatro player from Puerto Rico. “Aguinaldo” pays homage to the group’s homeland of Puerto Rico. The song uses the bongo, guiro, cuatro, and other percussion instruments.

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