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The Artistry of Afro-Cuban Batá DrummingAesthetics, Transmission, Bonding, and Creativity$
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Kenneth Schweitzer

Print publication date: 2013

Print ISBN-13: 9781617036699

Published to University Press of Mississippi: March 2014

DOI: 10.14325/mississippi/9781617036699.001.0001

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. Overview of the Batá Repertoire

. Overview of the Batá Repertoire

(p.66) 3. Overview of the Batá Repertoire
The Artistry of Afro-Cuban Batá Drumming

Kenneth Schweitzer

University Press of Mississippi

This chapter begins by introducing the descriptive notation employed throughout this study. It then compares the author’s choices concerning pitch, timbre, rhythm, terminology, and other musical concepts with those of other scholars, and examines some of the difficulties in depicting these musical sounds and concepts. Two views of the batá repertoire are considered, the first of which divides all toques into two categories: those that typically appear in the oro igbodú; and all remaining toques. The second approach views the repertoire as a continuum, at one end of which are toques that reference Lucumí chants and songs, and which are generally dedicated to an individual orisha. Further along the continuum exist toques generally described as generic, but which retain a latent association with one or more orishas.

Keywords:   toques de santo, the batá repertoire, oro igbodú, Lucumí music, orisha

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