Developing Multiculturalism in
Your Percussion Curriculum

by Marvin Sparks

In the 1990's, America's diverse melting pot of cultures is represented in every aspect of education, particularly in the performing arts. Since the 1940's, American percussionists have explored Cuban music, and many jazz musicians (Dizzy Gillespie, Cal Tjader) have incorporated music by Cuban percussionists (Chano Pozo, Armando Peraza) into the jazz idiom, creating an exciting music called Latin Jazz. By the late 1970's, Latin percussion instruments had been incorporated into every aspect of music, with students increasingly expressing interest in the study of these exciting techniques. An important characteristic of Latin music is that it differs from traditional Western music: Rhythm and the percussion section are the most significant aspects of Latin music, while in Western music melody and compositional structure is dominant.

Hand percussion techniques can be traced back to the African tradition of drumming. Music permeated life in earl African culture; everyone was a musician. Discovery and development of the New World led to enslavement of West African blacks who were forced to endure unbelievable hardships. Finding themselves in far away places such as Cuba, Haiti, Brazil and America, these slaves performed ritual drumming on barrels and boxes to keep up their moral. Secret societies, which still exist today, were formed to practice religious rites of worship to African gods. Drumming is in the forefront at these rituals.

The University of Houston Afro-Cuban Ensemble was created to explore the roots of percussion in Africa and it's migration to Cuba and America. This multi-cultural student ensemble expands the traditional percussion ensemble curriculum to include jazz improvisation and world percussion techniques. The following is some brief information about the group which will hopefully assist you in creating ideas for developing percussion ensemble within your curriculum.

Instrumentation :
Pitched: Vibraphone, Marimba, Bass

Unpitched: Congas, Bongos, Timbales, Multi Percussion.

Arrangements:

The UH Afro-Cuban Ensemble uses the same method that Latin jazz groups have used throughout history in developing arrangements.

1. Find a head arrangement for the selection. (The New Real Book - Sher Publishing)
2. Find a recording of the selection in any style.
3. Listen to recordings of various Latin ensembles for feel and arranging ideas.
4. Develop arrangement selection and fine tune it. It is important that melodic performers are comfortable with the chart. Melodic line, cord changes and arrangement must be memorized, which will allow the improviser the freedom to express him/herself during a solo.

The importance of listening to authentic Latin music cannot be stressed enough. The following is selected list of recommended artists which one should become familiar with toward developing greater insight into Latin based music.

Los Papines - Cuban Folkloric Group.
Los Muniquitos de Matanzas - Cuban Folkloric Group
Dizzy Gillespie - w/ Chano Pozo
Los Van Van - Cuban pop group
John Santos - Historian/ performer, leader of Batachanga
Tito Puente - Legendary Timbale player and band leader
Eddie Palmeri - Great pianist and pioneer of Latin jazz
Jose "Changuito" Luis Quintana - Cuban drummer formerly with Los Van Van
Irakere - Cuban Latin jazz group.

The seven member University of Houston Afro-Cuban Ensemble, led by Professor Marvin Sparks has presented workshops at the Texas Music Educators Convention and numerous schools and events nationwide. All members of the ensemble are percussion majors at the University of Houston.

This article was compiled using excerpts from "Developing Multiculturalism in Your Percussion Curriculum: The Afro-Cuban Ensemble" by Professor Marvin Sparks.

For more information, please contact:
Marvin R. Sparks, Jr.
msparkdrm@aol.com