mcguinness2011
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McGuinness, Sara E.: |
CONTENTS
Abstract 3
Table of Contents 4
List of Figures 9
List of Audio Examples 12
List of Video Examples 14
Acknowledgements 15
Preface 16
Terminology 18
T.1 Places and People 18
T.2 Music 19
T.2.1 Cuban Music 19
T.2.2 Congolese Music 19
T.2.3 Transcriptions 20
Key to scores 22
Chapter One
Introduction 23
1.1 Getting in the Groove 23
1.2 The Background to My Research Project 24
1.2.1 My Research Question 27
1.3 My Position as a Musician and Researcher 28
1.3.1 My Musical Background 28
i. Involvement in Cuban Music 28
ii. Involvement in Congolese Music 28
iii. My Position as a Female Musician 29
iv. Inclusion in Community 31
1.4 My Research Methods 33
1.4.1 Methodology – Action Research 36
1.4.2 Factors that Helped the Momentum of the Project 37
1.4.3 Presentation of My Work 42
1.4.4 Use of Transcriptions 43
1.5 Summary of Chapter 44
Chapter Two
The Emergence and Development of Cuban Son 45
2.1 Introduction 45
2.2 The Slave Trade 46
2.2.1 The Foundations of Afro-Cuban Society in Cuba 48
2.2.2 Writings on Slavery in Cuba 50
2.2.3 A Summary of Slavery in Cuba 52
2.3 The Emergence of Cuban Son 53
2.3.1 A Review of Writings on the Development of
Cuban Music 54
2.3.2 A Summary of Writings on Cuban Music 56
2.4 The Development of Cuban Son 57
2.4.1 Musical Structure and Organisation 57
i. Interlocking as a Central Feature of Cuban Son 58
ii. Call and Response 60
iii. Percussion Instruments and Playing Styles 60
iv. Linguistic Traits in the Music and Music Terminology 61
2.4.2 The Instrumentation and Development of Son 61
i. The Earth Bow 62
ii. The Bongó 64
iii. The Tres 64
iv. The Marimbula 69
2.4.3 A Summary of Oriente Son 70
2.5 The Effects of the Sugar Boom on Slavery and Musical
Development 70
2.5.1 The Roots of Rumba and Afro-Cuban Religious
Music and Their Input into Son 70
i. Congolese Musical and Dance Styles: Makuta and Yuka 71
ii. The Development of Rumba 73
iii. Links between Cuban religious and popular Music 75
iv. The Modernisation of Son 76
2.6 The Dissemenation of Son 79
2.7 Further Developments: Arsenio Rodríguez and the
Emergence of the Conjunto Format 80
2.8 The Structure of Son 84
2.9 Summary of Chapter 85
Chapter Three
The Emergence and Development of Congolese Popular Music 87
3.1 Introduction 87
3.2 Existing Research into Congolese Music 87
3.3 The Backdrop – Kinshasa 89
3.3.1 The Impact of Radio on Congolese Popular Music 90
3.3.2 The GV Series of Releases and Their Reception in
Belgian Congo 91
3.3.3 The Formation and Development of the Congolese
Record Industry 92
3.4 The Four Generations of Congolese Popular Music 93
3.4.1 The First Generation – 1940s to 1950s 93
3.4.2 The Second Generation – 1950s to 1970s 94
3.4.3 The Third Generation – 1970s to 1990s 105
i. Mobutu’s Rule and Cultural Authenticity 105
ii. The Hindoubills and Minzoto Ya Zaïre 106
iii. The Third Generation – Zaiko Langa Langa and
the Youth Bands 109
3.4.4 The Fourth Generation – Wenge Musica 115
i. Musical Developments in Seben – the Atalaku 115
ii. The Role of the Guitar 117
iii. The Break-up of Wenge Musica – the JB M’Piana/
Werrason Divide 119
iv. Class and the School/Village Divide 122
3.5 Similarities between Fourth-Generation Congolese
Music and Cuban Son 123
3.6 Conclusions 129
Chapter Four
Creating the Band 131
4.1 The UK’s Salsa and Congolese Music Worlds 132
4.1.1 The London Salsa Scene 132
4.1.2 The London Congolese Music Scene 132
i. Issues of Immigration and Legality 133
ii. Politics and Congolese Musicians 134
iii. The Consequences for Grupo Lokito 136
4.2 The Ethos behind the Formation of Grupo Lokito 136
4.3 Creating a Band 137
4.3.1 The Drummer 139
4.3.2 The Percussionists 142
4.3.3 The Bass Player 142
4.3.4 The Guitarists 142
4.3.5 The Vocalists 143
4.3.6 My Instrument – the Keyboards 144
4.3.7 My Position as Female Bandleader 145
4.4 Developing Ways of Working 146
4.4.1 Methods of Presenting and Learning New Material 147
4.4.2 Structure of Rehearsals 148
4.5 The Impact of Social Factors on the Band 149
4.5.1 Immigration and Legal Issues 149
4.5.2 Time-keeping and Reliability 150
4.6 Conclusions 153
Chapter Five
Grupo Lokito 154
5.1 Introduction 154
5.2 A Review of My Research Methods 154
5.2.1 Recording and Productions Values 156
5.3 The Challenges Facing Different Instrumentalists
in the Band 158
5.3.1 The Conga Player 159
5.3.2 The Drummer 161
5.3.3 The Bass Player 161
5.3.4 The Guitarists 164
5.3.5 The Keyboards 169
5.3.6 The Singers 176
5.4 The Material Produced by the Group 177
5.4.1 On Va Danser 177
5.4.2 Congo 179
5.4.3 Na Ko Kamwa 181
5.4.4 Générique 182
5.5 Common Ground: Similarities Between the Two Musical
Styles as Experienced by the Group 186
5.5.1 Dynamics in the Music 186
5.5.2 Similarities between Seben and Montuno 187
5.6 Towards a Performance Practice 189
5.7 Audience Response to Grupo Lokito 191
5.8 Summary of Chapter 191
Chapter Six
Conclusion 193
6.1 Introduction 193
6.2 Reflecting on My Choice of Research Methods 194
6.3 The Musicians’ Experience 195
6.4 Social Issues Impacting on the Project 195
6.5 Developments within the Band 196
6.6 Outcomes of my Research 196
Glossary 200
Bibliography 210
List of Other Sources 223
Interviews Conducted by Author 223
Interviews Conducted by Others 223
Conferences 223
Selected Discography 224
Appendix A – CD Rom 227
A.1 CD Rom 227
A.2 Authoring Software 227
A.3 Playing the Presentation 228
Appendix B – CD 229
B.1 Track Listing 229
B.2 Musicians 229
Appendix C – DVD 230
C.1 Track Listing 230
C.2 Musicians 230
Additional Materials
CD ROM
CD: Musical Examples
CD: Grupo Lokito “Esengo Ya Ko Bina”, Malecon Records
DVD: Grupo Lokito Live at Band on the Wall (Manchester),
19 May 2011
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