This is but one example of how music and dance of past eras ..

dance strives to preserve original form of tango that was first created in ..

Boyer College of Music and Dance | Temple University

“In 1987 Andy Palacio obtained a scholarship from the British Cultural Partnership Ltd., a community arts foundation and after six months returned to Belize with professional experience, a donated tape recorder and music mixer. He began traveling to Garifuna villages throughout the countryside recording and documenting traditional music and drumming. He visited us at the Government Information Service and persuaded me to write a small piece on his project in the magazine I edited at the time, The New Belize. He eventually launched a music program on Radio Belize, and this eventually evolved his career into a that of a full time musician. He passed away at age 47 on Saturday 17 January 2008.”

Intellectuals around the world have hailed jazz as "one of America's original art forms"

of the various dance music categories, relate to original ..

While flamenco dancers (bailaores and bailaoras) invest a considerable amount of study and practice into their art form, the dances are not choreographed, but are improvised along the palo or rhythm. In addition to the percussion provided by the heels and balls of the feet striking the floor, castanets are sometimes held in the hands and clicked together rapidly to the rhythm of the music. Sometimes, folding fans are used for visual effect.


Flamenco music styles are called palos in Spanish. There are over 50 different palos flamenco, although some of them are rarely performed. A palo can be defined as musical form of flamenco. Flamenco songs are classified into palos based on several musical and non-musical criteria such as its basic rhythmic pattern, mode, chord progression, form of the stanza, or geographic origin. The rhythmic patterns of the palos are also often called compás. A compás (the Spanish normal word for either time signature or bar) ischaracterized by a recurring pattern of beats and accents.

To really understand the different palos, it is important to understand their musical and cultural context:

Some of the forms are sung unaccompanied, while others usually have a guitar and sometimes other accompaniment. Some forms are danced while others traditionally are not. Amongst both the songs and the dances, some are traditionally the reserve of men and others of women, while still others could be performed by either sex. Many of these traditional distinctions are now breaking down; for example, the Farruca is traditionally a man's dance, but is now commonly performed by women too. Many flamenco artists, including some considered to be amongst the greatest, havespecialized in a single flamenco form.

The classification of flamenco palos is not entirely uncontentious, but a common traditional classification is into three groups. The deepest, most serious forms are known as cante jondo (or cante grande), while relatively light, frivolous forms are called cante chico.

of virtually all forms of Cuban-derived Latin dance music

(High School and advanced musicians)
Taught by Dylan Principi, doctoral fellow in music at Princeton University
Temple Music Prep, 1515 Market Street
Based on techniques taught at top American conservatories and universities, this premier-level course acquaints the advanced student with the aural and theoretical skills expected of a professional musician. Weekly lessons drill aural competencies including sight-singing, dictation, and identification of intervals and chords; the theoretical topics span from a review of scales and tonality, and progress to harmony, counterpoint, voice-leading, chromaticism, phrase structure, form, and advanced analytical technologies where relevant. Brief weekly assignments are meant to monitor and strengthen skills acquisition. Students preparing for the AP exam or Royal Conservatory certifications in music theory will find this course an invaluable aid. Prerequisite: Written assessment for placement in this advanced class.
Saturdays, Noon to 1:00 PM
October 7, 2017 through April 21, 2018

(No classes November 25, December 9 through January 6, and March 31)

(Ages 10 through high school)
Taught by Manijéh Pickard, Director, in collaboration with Elizabeth Hainen, Principal Harpist, the Philadelphia Orchestra
Intermediate and advanced level lever/pedal harp students will be accepted by teacher recommendation.
Temple Music Prep, 1515 Market Street
The Temple Music Prep Youth Harp Ensemble offers pedal and lever harp students ages 10 through high school the opportunity to participate in a group ensemble experience with a conductor as well as in student-led chamber music settings. There is no prerequisite for entry, however, basic note-reading skills are suggested. Repertoire will be assigned to each student based on their level and experience and ranges from intermediate to advanced. Students are responsible for bringing their own harps and benches; music stands are provided. (Lever harps should be tuned in E-flat.) Individual time commitment requirements may vary depending on repertoire assigned. Participants are also eligible to attend monthly studio master classes by Philadelphia Orchestra principal harpist, Elizabeth Hainen at the Boyer College of Music and Dance. Students may also have the opportunity to collaborate with other Temple Music Prep ensemble.

them retain the purity of their music and dance.

Electronic dance music - Wikipedia

In accompaniment to their music traditions lie the Garifuna songs and dance styles, which are an integral part of their culture. These songs and dance styles that are performed by the Garifuna display a wide range of subjects like work songs, social dances, and ancestral traditions. Some of the work songs include the Eremwu Eu, which is sung by the women as they prepare to make cassava bread, and the Laremuna Wadauman, a song men regularly sing when collectively working together.

Original forms dating from the 1920s and early 1930s

Skips of a third or a fourth are rarer. However, in fandangos and fandango-derived styles, fourths and sixths can often be found, especially at the beginning of each line of verse. According to Rossy, this would be a proof of the more recent creation of this type of songs, which would be influenced by the Castilian jota.


Compás is the Spanish word for meter or rhythm or time signature in classical music theory. In flamenco, besides having these meanings, it also refers to the rhythmic cycle, or layout, of a palo or flamenco style. When performing flamenco it is important to feel the rhythm — the compás — rather than mechanically count the beats. In this way, flamenco is similar to jazz or blues where performers seem to simply 'feel' the rhythm.

Flamenco uses three basic counts or measures: Binary, Ternary and the (unique to flamenco) twelve-beat cycle, which is difficult to confine within the classical measure. There are also free-form styles, not subject to any particular meter, including, among others, the palos in the group of the tonás, the saetas, malagueñas, tarantas, and some types of fandangos.

Rhythms in 2/4 or 4/4. These meters are used in forms like tangos, tientos, gypsy rumba, zambra andtanguillos.

Rhythms in 3/4.

Lindy Hop evolved in the early 1930s

These are typical of fandangos and sevillanas both of these forms originate in Spanishfolk music, thereby illustrating their provenance as non-Gypsy styles, since the 3/4 and 4/4 measures are the most common throughout the Western world but not within the ethnic Gypsy,nor Hindi musical tradition.

12-beat rhythms usually rendered in amalgams of 6/8 + 3/4 and sometimes measures of 12/8 in attempts to confine it within the classical constraints. The 12 beat cycle is fundamental in the soleá and buerías palos, for example. However, the various accentuation differentiates these two. These accentuations don't correspond to the classic concept of the downbeat, whereby the first beat in the measure isemphasized. In flamenco, the different ways of performing percussion (including the complex technique of palmas) make it hard to render in traditional musical notation. The alternating of groups of 2 and 3 beats is also common in the Spanish folk or traditional dances of the 16th Century such as the zarabanda, jácara and canarios.
They are also common in Latin American countries.

12-beat amalgams are in fact the most common in flamenco.