Among the readers CIN and regular commentators, almost everyone agrees that rap and hip hop are genres of African nature clear. More problems come to recognize that the rock, pop, metal, or RAC Oi! are gender, although in varying degrees, also variable depending on the performer, clearly Africanized.
is important to understand that what is held in this series of articles about the Africanization of musical taste and music heard by Europeans is objective, verifiable, externally verifiable. Not talking about taste, subjectivity, preferences, sensibilities ... Yes we provide a number of objective criteria for whether a particular music is Africanized or not. Needless to say, at this stage, that music is made by a target does not guarantee anything about the Africanization Africanization or not. Nor does it mean anything, from the point of view of the Africanization of music or a particular staging, which keeps a certain music or nationalist message that appeals to a group of nationalists. For music, the character of Africanized Africanized or not is only determined by a number of objective parameters.
In an interesting article published below, Beltenebros, a great connoisseur music but with great teaching skills, offers the appropriate means of screening.
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The first key concept to assess if the music is Africanized or not the density eidetic, ie the number of significant variations per unit time, or according to a predetermined structure. The overabundance of syncopation and density demisemiquavers not eidetic if suddenly is all there, or if it adds nothing to a predefined formal structure. The virtuosity by itself does not have a great value except as a show of fair. But music is more than just a show (And if not, look at the amount of classical composers and performers deserved merged in the trunk of history for having forgotten this golden rule).
not talking about taste, of course. Taste, and more in our unhappy times, is up to each of the stimuli received from an early age.
It is necessary to elaborate a bit on this basic pillar of the understanding of music, for massive pop culture and the sabotage of our educational systems often prevent us look objectively.
All peoples 
of the earth, without exception, have made music since prehistoric times. But only few or us at certain times, were able to produce, from the spontaneous and popular music, folk music learned, elitist, in a classical sense, which implies the establishment of one or more academies, systematic study of the expressive possibilities of sound and the birth of a social and intellectual caste able to create and appreciate art. Not that we care the Faint of relativists in vogue, say it clear that in Europe this rise has resulted in music so expressive and sophisticated, so tied to the most diverse cultural ECTOS asp own and eventually outsiders paradigms so permeated by philosophical, aesthetic and scientists also developed exclusively in Europe (the same as in the wrong hands, now serve to study other types of music and spreading the virus of relativism flatter), and finally, a music so diverse in its unit antagonistic schools and synthesis supports controversial in regard to its best results is the music par excellence and, without doubt one of the most valuable legacies of the great European civilization.
eidetic entity ica of any corpus of classical music is essentially the same: given a set formal constraints and emotional partnership possibilities and limitations based on physical, objective (the singer's anatomy, the physics of vibrating body, the technique of execution, the choice ng consonant and dissonant harmonics, respect for the jumps log in the game scales the pitch chosen) , composer / performer properly prepared strives to create a satisfying flow of sound and consistent with those premises. European classical music, however, went much further, because since the evolution of bel ca nt Florentine to the fourteenth century, looking maximum efficiency by optimizing the expression of physical resources and formal. Renaissance polyphony, which has left compositions 40 and 60 voices (!), Metaphors order of the universe-the cosmos Greek through very complex structures that evoke contextually cathedral domes. But remember that also means cosmos motif: the order is beauty, therefore the musical reason, the Platonic idea of \u200b\u200bthe composer timeless, which is manifested to our senses through sound, its "shadow" material subject to the flow of time - must necessarily be beautiful, because if we oy competent authorities, auditory perception, reading the score or our participation in the execution of the piece recreated in our minds the idea generic music, ineffable itself, and will reveal srvc the 
ness of the formal aspects. This correspondence between the formal rigor, the economics of media and poetic power of the i idea embodied in sound is the classic definition of beauty in music.
Therefore, European classical music is essentially optimistic and rationalistic, without thereby lose contact with the magma numinous and spontaneous popular substrate. His dignity is the elevation of spirit, awareness of actions and desires, stimulation of the mental qualities that produce valuable innovations and higher levels of organiz ation social and epistemological, classical music equivalent, in short, a declaration of willingness to self-knowledge and conquest of the powers of nature and spirit. imposes a sense of quiet time with a beginning and an end narratological, but mythic metaphors and theological eternity through its formal aspects cyclical and recursive (return to the tonic, the repetition of the sections, s perpetual and cancrizantes fees, etc.).
Subsequent ion EvoLucid European classical music through the Baroque, Classicism and Romanticism is, in large part, in a deepening and / or replacement of the formal principles based on the discovery (epistemologically equivalent to of a scientific discovery) of the solutions, too formal, certain aspects of harmonization or change of registration, manifesting solutions indirectly, metaphorically, extensions of previously unknown musical potential recorded in the order of the universe. Thus, the thinning of Baroque polyphony, which almost never goes beyond the five or six voices involved does not prevent an increase nte eidetic density changes because their registration and their harmonies formal paradoxes and solutions are absent the Renaissance music. Roman classicism and mysticism bring a new refocusing of polyphony, this time in a homophonic texture apparently (melody supported by chords), and the extension of the orchestral palette expressive and emotional purposes, but otherwise allows for more spurious extra-musical associations. The latest version of this potential misunderstanding is the videoclip, agent of the Africanization invaluable musical and unbridled sensuality, insulting and misleading vapidity mu ltiétnico.
The gradual impoverishment of the music consumer is not even if you look at the subgenera of the market, but every day there are fewer young Europeans willing to (or able) to hear the best pop creations of thirty or forty dren. I see, for example, that the density eidetic progressive rock of the 60 and 70 was superior to the products of the best modern rock, which re beeps and repeats the same hackneyed formulas with new clothes virtuoso and recording technology ( which imposes new and addictive beep codes, such as transparency of the mixture and the brutal weight of the low frequencies).
brings me to the second key concept: pleasure.
When we love music, it is almost impossible to stay completely still. We took the pace with a finger, foot, head, with discretion or exaltation. The sound from the sound has a terrible power of attraction. The pleasure of hearing the flatly two bass drum hits, soft pedal electronic keyboard and the "flavor" of the electric guitar, or otherwise the scraping deep basses, the stridently martial trumpets, the distant echo the tubes, the sweetness of clarinet , dissonances managed wisely, all that can make us forget the music itself at times.
Well, it's part of the music and it is permissible to enjoy this level of audition, but it is the only plane. simultaneously line mind there are at least two levels: the d and figuration (when we associate the sounds with a visual image, a history or literal meaning of a verse sung) and the music itself, when we pay attention to technical details and formal, ie the processing of the sound field.
music is voluptuous, even the most abstract of the more abstract classical composer. Simplement and must be tuned, for example, with the development polifónic or a canon of Bach or Palestrina motet , whose melodies are often have the immediate emotional charm of the later periods.
Regular use 
of salsa, reggaeton or cumbia induces coital partnerships on behalf of the hypersexualization d and the music and lyrics. In fact, tropical dances are authentic rituals and crowded brutalizing you pre-mating. What in the folk music and dance almost any r part of the world or explicitly suggested only occasionally, here is exactly rba per system. If instead be drawn into a musical language as the rock, and s probable we are safe from such a brutal conditioning. But since also in the rock battery brand almost always the compass, we may think it is the only way to mark the rhythm, or that any change of rhythm depends on the guide battery. And this is one of the most unfortunate aspects of the Africanization of European music. A good battery is hypnotically sensual and primary. But the originality and greatness of European classical music is that, being predominantly polyphonic, melodic, is able to articulate very subtle changes of pace, rhythm and tempo, to the polyrhythms, or execution different rhythms simultaneously, by strictly melodic and harmonic resources!
Similarly, the strength of a part or piece of music, his ability to move us, bristling, exalt or overwhelm them, does not have to interact with the sound volume or the vehemence with which marks the rhythm, screaming or digital musical instruments. This has to do with the dynamic range of music, a third key concept for understanding the scope of the African mechanization.
This concept has been losing little by little but growing fast in the field of consumer music mass.
The dynamic range is simply the difference between sound weaker and stronger one piece or an e musical mission. It has to do with the contrast , both financial and psychological psycho. When a stimulus p ermanece very similar to himself for a significant time, the body begins to ignore it. So we can talk in a cafe even though the TV on and the other talks, we filter the sounds we are not interested. If suddenly the silence was made around us then yes we would call attention to contrast. When the music has almost no dynamic range and is an indistinct flow of sweetish arpeggios (as in electronic music chillout type), the listener may lose interest too soon, perhaps p ou start to sleep. Worse, it can come up that's good music. Modern life is so stressful that this type of product is all the rage among people, otherwise well int ention, which have no real interest in music whatsoever, except as a sedative no chemical. The loud music like punk rock or metal creates the same "carpet" sound, only with the greatest noise possible. I mean all the songs of these genres, of course, but the general trend. Even
film music s neandertalizante UFREE this flattening. Ever heard the soundtrack of "The last ú s amurái ." I remember at one point stood on a solo oboe and electronic orchestral tissue in the heart as if it were possible to achieve that sound intensity. By examining the wave form in a program ad hoc (such as Adobe Audition), I realized that the sound intensity was almost the same throughout the piece. That is to distort the music. I mean that as exp erimento address is justifiable, but that was not ning an experiment but the only way "acceptable" to present to the public a musical composition: as flat, monotonous and noisy as possible, just as is not real music. Be jettisoned, and an art instrumentation calibrated by the best minds for centuries, as well as all those small-town sensibility whose sounds natural happy and encouraged the parties of our grandparents ...
back on the force ao ability to impact of music in the world classical there are many ways to shock the listener stunned without sledgehammer. For example, an unexpected modulation, either with one voice, with a solo instrument or an entire orchestra.
me give you an example. In the "Alpine Symphony" by Richard Strauss, who narrates almost onomatopoeiaticly a day of climbing in the Bavarian Alps, the thematic material from the beginning ("Night", "Dawn") is almost identical to the conclusion that reaches about fifty minutes later ("Sunset", "Night"). Download the video totally paused, before listening.
Just the Tsar EMPE 
v ideo hear the distinctive four-note motif the Alps, in charge of metals. At 0 : 16 harp arpeggio leads into the violine s, pr Olonga the theme underlying logical manner. It is i mportant memorize the first four notes, the po rque meet again when the night has covered the mountain peaks at minute 9:13. The Wagner tubas and trumpets sing the theme in a low voice. Y then, instead of logically continue as before , we have a modulation (key change, ie the fundamental note of harmony) entirely unexpected in 9:31. There is no explosion sound or anything like that, but that chord change the value of which, obviously, can only be assessed in relation to the previous key is still present in our minds as inertia-is of great expressiveness. Always and that the listener knows the codes to get rid of Africanized, of course.
In programmatic terms s (extra-musical idea, but referred to insp iradora nonmusical) perfectly describes the mole hill that we leave behind a mineral presence steep, majestic and infinitely magnified by the darkness.
ANNEX
propose, first, a documentary exception that can help us to better intuit the meaning of the entity eidetic European classical music.
Herbert von Karajantested on the podium of the Vienna Symphony Orchestra's Fourth Symphony of Robert Schumann. German spoken, English subtitles. Recommend expensive idamente strive to see Siqueira the first of 7 parts, much better if you follow the entire documentary. Karajan corrected each time his musicians, directing the sound to be emitted according to the technical details but also the idea generating Schumann, expressed as a symphonic development ostinato from which to develop the songs. Notice that Karajan has memorized the entire score (ie the various parts for each instrument) and may include timeless rla as a whole and indivisible.
Other videos are accessible from the browser YouTube or on whose behalf the rose.
Second, see a fragment of one of television programs about classical music that the conductor Leonard Bernstein led a mid-century (spoken in English, subtitled in English). It's about musical intervals, ie the distance, measured in tons between two successive notes or simultaneously eas of the scale, but we want to be Used in Brahms's Fourth Symphony, first movement.
Bernstein finishes here and xplicar theory elementary intervals. If you have it clear what they are through, go immediately to 5:47 minutes, otherwise, attend to the teacher.
The EXPLANATION summarily n continued and concluded at the 2:08 minute video of this or . Bernstein
then directed the whole movement, but there are better sources available even on YouTube.
This superficial analysis of some of the ranges used in a few bars of the first movement of Symphony No. 4 by Brahms will give us an idea, simple projection, the bowels of the machinery lengthy symphony of abstract metalwork classic beauty.
Beltenebros
