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Unlabeled photo from the Cantigas de Santa Maria, Castile/Spain, c. 1300-1340.The left instrument has been called both guitarra latina and citole (left). The other instrument has been called guitarra morisca.
Minimus is known by the publisher as "the mouse that made Latin cool". [1] There are two books in the series: Minimus: Starting out in Latin and Minimus Secundus. The first book is aimed at 7- to 10-year-olds, and the second continues the education for children up to 13 years old. The stories presented in each chapter revolve around a family.
Authors are still producing original books in Latin today. This page lists contemporary or recent books (from the 21st, 20th and 19th centuries) originally written in Latin . These books are not called "new" because the term Neo-Latin or New Latin refers to books written as early as the 1500s, which is "newer" than Classical Antiquity or the ...
Tresillo is the rhythmic basis of many African and Afro-Cuban drum rhythms, as well as the ostinato bass tumbao in Cuban son-based musics, such as son montuno, mambo, salsa, and Latin jazz. [ 12 ] [ 13 ] The example below shows a tresillo-based tumbao from "Alza los pies Congo" by Septeto Habanero (1925).
Based on Cuban music in rhythm, tempo, bass line, riffs and instrumentation, Salsa represents an amalgamation of musical styles including rock, jazz, and other Latin American musical traditions. Modern salsa (as it became known worldwide) was forged in the pan-Latin melting pot of New York City in the late 1960s and early 1970s.
The cuatro is a family of Latin American string instruments played in Colombia, Puerto Rico, Venezuela and other Latin American countries. It is derived from the Spanish guitar. Although some have viola-like shapes, most cuatros resemble a small to mid-sized classical guitar. In Puerto Rico and Venezuela, the cuatro is an ensemble instrument ...
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The Spanish tinge is an Afro-Latin rhythmic touch that spices up the more conventional 4 4 rhythms commonly used in jazz and pop music. The phrase is a quotation from Jelly Roll Morton. In his Library of Congress recordings, after referencing the influence of his own French Creole culture in his music, he noted the Spanish (read Cuban) presence: