Bachata Music Hernandez: A Brief Summary

The first Bachata song I analyzed is from Monchy and Alexandra “ Dos Locos” This is a classic bachata style song. The instruments in this song are bass, I could hear mainly the guitar and the Segunda which its purpose is to add syncopation to the music. This song is composed of two lead singers. Beginning with a moderato volume, the female lead singers increases her volume to forte when the male singer joins her. This song talks about a romantic story about a couple that are crazy in love but can’t be together because of their pride.

By coming to Spider House with an open-minded attitude of wanting to comprehend the communication interactions of the people I observed, created a passageway to achieve valid field notes. Knowing that I didn’t want to minimize my fieldwork I positioned myself on the bar with a book so that I wouldn’t distract from the observation. By creating this situation I created minimal negative consequential presence within the fieldwork observation.

Valens was the first Mexican-American, rock-n-roll artist accepted in United States culture, even though his greatest hit was in Spanish. Through La Bamba, Valdez made Valen’s contribution to mainstream culture more

The bright sounds of trumpets ring out, punctuating the sweet melodies of the violins. The guitarist steps forward and begins belting out the lyrics to a son, or traditional Mexican folksong. Meanwhile, a guitarron—a huge bass guitar—provides a steady rhythm, accented by the much smaller five-string vihuela. This is mariachi music! Mariachi music originated hundreds of years ago in colonial Mexico.

The stories of Junot Diaz feature various elements of social and personal issues that are highly prevalent in young Latinx men, primarily the compulsion and adverse effect of machismo, the poignancy of being an outcast in one’s community, and the lack of a father figure in a boy’s life. The first set of short stories prominently feature Ysrael, a Dominican boy whose face was disfigured by a pig when he was an infant. In “Ysrael”, he is the object of Yunior’s fascination, and the victim or Rafa’s (Yunior’s brother) torment.

Carmen Miranda is a Portuguese-Brazilian beauty who rose to fame in the 1930s and 1940s as a South American cultural icon. Her journey into show business is a fascinating and exhilarating one of struggle, success, and stardom. Carmen Miranda’s charm, distinctive fruit headpiece, and flamboyant costumes captivated audiences, and her life had both accomplishments and disappointments, making her a diverse and distinctive character in entertainment history. My intent with this essay is to prove Carmen Miranda's impact on Latin America by introducing the world to samba, culture, and other Latin American rhythms. This essay will also look at how Carmen Miranda challenged preconceptions of Latina women in cinema and campaigned for better opportunities

In order to evaluate the contribution of qualitative research on friendship, it is crucial to define and have some background of friendship, define and understand qualitative approach and then evaluate its contribution to friendship research. Friendship is considered to be one of the pillars of day to day life starting from childhood to very old age. Friendship is a complex endeavour and can be difficult to define as it may have different meanings to different people at different times. Friendship has different stages and occurs inversely in different stages of life i,e childhood, adolescence, and adulthood friend, long-term friend, best friend, good friend, school friend, college friend and etc. Friendship is a mutual trust and support between

Anzaldúa was a Mexican American who was a well-known writer and had a major impact on the fields of queer, feminist, and cultural theory. Her most famous work is Borderlands/La Frontera: The New Mestiza which includes poems, essays, and short stories. Anzaldúa was no stranger to the use of literary theories in her writing, which is evident in her short story “How to Tame a Wild Tongue.” Here, the author uses a combination of feminist, reader-response, and psychoanalytic theory to show the struggle of being oneself when they’re Mexican-American. Through the use of feminist theory, she explains how a female is labeled as an “habladora” when she tries to voice out her opinion about something; reader-response theory provides the reader with an understanding of the struggles of self-identity, which they are able to relate to, especially Mexican-Americans; and lastly, psychoanalytic theory illuminates on her childhood experiences, which could explain why Anzaldúa believes in what she does, such as the idea that Anglo people have tried to tame her tongue—in other words, her language.

Costa Rica is such a diverse country. With an array of different ecosystems and a mixture of people with roots from all over, it is no surprise that the music has just as much diversity. Costa Rica has plenty of influences on their music: Indigenous, European, African, Western, and other Latin American countries. Therefore, music in Costa Rica stems from various genres because of the many influences from other cultures. Traditional Costa Rican music relies heavily on the indigenous, European, and African influences that are shown within Costa Rica’s own demographics.

Finally, the instruments. Semba often uses a marimba and birinbau produce the music both instrument made with wood in which exhibits a sound similar to a piano, and Merengue often uses tambora an instrument made from salvaged rum barrels and maraca made by hollow balls from dried gourd shell (cuia "koo-ya") or coconut shell filled with seeds or dried beans and mounted on a wooden handle. Even though to play old Merengue music is necessary marimba. In addition, as personal experience as a singer and dancer I found the rhythm of semba interesting because of it clear connection history to music the rhythm of semba has awaken the humble part of my self, its deep lyric regarding facts that make me think about life and open myself more often to others culture and habits.

Love has always been a complicated emotion to experience, let alone study; however, Denise Brennan has captured the complexity of performing love in her book What’s Love Got to do With it?. What’s Love Got to do With it?, traces the evolution of Sosua, a small coastal Dominican town, struggling to resolve its traditional understandings of Dominican identity with its growing role in the transnational tourism economy. Europeans, particularly Germans, flocked to Sosua in the early 1990s in search of an “exotic”, and often erotic paradise (68). The influx both Dominican migrants and European immigrants as well as their associated cultures, goods, and ideas converged allowing Sosua to take on a transnational identity which Brennan describes and

The women's reactions, although were affected “positive” from their upbringing were still formed within the confines of society. The chapters show the different ways which Latinas interact and the perception of sex. Often the voice of Latinas is lost and losing this voice means losing a part of history. It is important to record the way which Latinas are socialized about sex since it is reflected in the nature of their

However, there is an ecological validity issue, as in this laboratory environment participants may not have responded to each other as they would in normal day-to-day

A field experiment is carried out in a real life setting and involves manipulating an independent variable to see if it has an effect on a dependant variable; participants do not usually know they are taking part in an experiment(Complete Psychology, pg371). One of the strengths of this research method is that the results have high ecological validity, meaning they are more likely to reflect real life behaviour

Shows people in the process of figuring out what to do, how to live, and the meaning of their struggles'. " Ellingson and Ellis (2008) see auto-ethnography as a social constructionist project that rejects binary opposition between the researcher and the researched, objectivity and subjectivity, process and outcome, self and others, and the personal and the political. Carolyn Ell is writes, “In auto-ethnographic work, I look at validity in terms of what happens to readers as well as to research participants and researchers”. Ellis suggests to judge auto-ethnographic writings on the usefulness of the story. In other words, the most important is what narratives do, what consequences they have.