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"Burru" consists of alternations of a beat made by one drummer, and another beat by another drummer, like a conversation between two or more people: this pattern is named call and response, [2] and can be observed in almost all African-rooted music, such as the first Afro-American music genres like blues and gospel, among others.
Afro-Caribbean music is a broad term for music styles originating in the Caribbean from the African diaspora. [1] These types of music usually have West African/Central African influence because of the presence and history of African people and their descendants living in the Caribbean, as a result of the trans-Atlantic slave trade. [2]
After the music's gradual exposure in Panama, Jamaica influence and heritage in Panama it eventually evolved into reggaeton. [11] It blends West-Indian reggae and dancehall with Latin American genres such as bomba, plena, salsa, merengue, Latin pop and bachata, as well as hip hop, contemporary R&B and electronica. Notable acts of early ...
Reggae (/ ˈ r ɛ ɡ eɪ /) is a music genre that originated in Jamaica during the late 1960s. The term also denotes the modern popular music of Jamaica and its diaspora. [1] A 1968 single by Toots and the Maytals, "Do the Reggay", was the first popular song to use the word reggae, effectively naming the genre and introducing it to a global audience.
In the 1960s, the conga became a prominent instrument in Haitian popular music styles such as konpa, yeye and mini-djaz. [18] Conjuntos and orchestras playing Colombian dance music have incorporated cumbia rhythms, traditionally played on tambores known as alegre and llamador, to the conga drums. The standard Colombian cumbia rhythm is simple ...
Jamaican reggae musicians by instrument (1 C) G. Reggae guitarists (1 C, 5 P) S. Reggae singers (12 C, 22 P) T. Reggae trombonists (4 P)
Dancehall is a genre of Jamaican popular music that originated in the late 1970s. [4] [5] Initially, dancehall was a more sparse version of reggae than the roots style, which had dominated much of the 1970s.
The bongo entered Cuban popular music as a key instrument of early son ensembles, quickly becoming—due to the increasing popularity of the son—"the first instrument with an undeniable African past to be accepted in Cuban “society” circles". [3] This is attested, for example, in poems by Nicolás Guillén. [3]