Do you know the song GUANTANAMERA?

what is the melody, composer, lyricist, instrumentation, description of melody and rhythm and text




Update 2:

thanks michelle but do you know when it was composed??

3 Answers

  • 1 decade ago
    Best Answer

    Hello my love...

    here you go:

    check these two out..ill search for more!

    -composer & lyricist: jose marti started it as a poem, then jose fernandez took it and turned it more into a song and finally pete seeger was the one who made it popular by changing the i guess those two guys are the composers

    -instrumentation: For Snare Drum, Multi Tenors, Cymbals, Tonal Bass Drums, Bells, Xylophone. Marching Percussion Series/Mallet Features.

    -Description of melody and rhythm and text (its all in here, just look for them mentioning melody, rhythm and text): Joseito's "Guantanamera" was in the form of a guajira-son. "Guajira" as a noun means "Cuban peasant woman," but as a musical genre name it would derive from its adjectival use in the term musica guajira, that is, "Cuban peasant music." Traditional musica guajira consisted primarily of regional varieties of punto, in which poetas or repentistas (improvisers), typically accompanied by guitar and/or the guitar-like tres and other stringed instruments, would improvise topical verses in the Spanish-derived decima form. In some of these styles (such as that associated with Sancti Spiritus) singers would punctuate decimas with a refrain or chorus (coro, estribillo). In terms of structure, Joseito's "Guantanamera" resembled this format, in his use of the familiar refrain in between decimas. Since his decimas, in a given song, were thematically linked rather than independent, they would, in the Cuban context, be called seguidillas (although in Spain this term denotes a prosodic scheme and related song forms). In terms of style and rhythm, however, "Guantanamera" was a guajira-son, which retained some of the instrumentation and textual orientation of country music while using the syncopated quadratic rhythm of the urban popular son. According to some sources, Cheo Marquetti was the first to popularize the guajira-son genre in the late 1920s, combining decimas with a son rhythm based on the montuno (concluding call-and-response ostinato section) of the contemporary hit son, "Son de la Loma" (Sanchez Oliva and Moreaux Jardines 1999, 30). (The guajira-son also differed in this sense from the ternary-metered guajira popularized from around 1900 by theater-music composers like Jorge Anckermann

    Genres like the son and the guajira-son of the 1920s were evolving in a mixed musical atmosphere of residual oral-tradition rural culture and emergent modern capitalist music production. The son itself had originated in the preceding decades as a folk idiom from Oriente (eastern Cuba). For its part, musica guajira forms--especially the varieties of punto--were more typical of oral-traditional folk idioms than of commercial popular genres in their reliance on improvised verses set strophically to endlessly reiterated and freely borrowed stock melodies, and in their customary performance contexts of informal fiestas rather than commercial mass mediation. At the same time, since the mid-nineteenth century, Havana had come to host a well-established capitalist music culture, with commercial marketing of sheet music, numerous music journals, and a thriving music theater scene. As soon as the son took root in Havana, it became embedded in this world of recording contracts, sheet music, and copyright considerations. For its part, the guajira-son evoked a pre-modern rural ambience in its general avoidance of trumpets and pianos, its occasional use of the campesino-oriented decima, and its bucolic texts which typically romanticized peasant life and the countryside. In other respects, however, it was a thoroughly urban and modern entity, composed, performed, and enjoyed by city-dwellers and commercially marketed from its very inception in the 1920s.

    from what i read, i think its 1929...look what it says: The music for the song is regularly attributed to José Fernández Diaz, known as Joselíto Fernández [1], who claimed to have written it at various dates (consensus puts 1929 as its year of origin)

  • Edith
    Lv 4
    4 years ago

    From Wikipedia: The music for the song is regularly attributed[1] to José Fernández Díaz (also known by the diminutive, Joseíto), who claimed to have written at various dates (consensus puts 1929 as its year of origin), and who used it regularly in one of his radio programs. Some researchers claim that the song's structure actually came from music already in popular use by peasants in southeastern Cuba during the early 20th century, and that Fernández merely adopted the melody as his own. There is also some debate on whether the writer of the music used in the chorus of the song, pianist Herminio "El Diablo" García Wilson, could be credited as a co-composer. García's heirs took the matter to court decades later; Cuba's Supreme Court credited Fernández as the sole composer of the music in 1993. Regardless of either claim, Fernández can be safely claimed as being the first public promoter of the song, through his radio programs[2].

  • 1 decade ago


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