A technical analysis of the Noro Morales piece, "110 St. and 5th Ave."
Written in 2005; 810 words; 2 sources; MLA; $ 28.95
Paper Summary:
This paper analyzes the Latin-jazz piece "110 St. and 5th Ave" by Puerto Rican composer, Noro Morales, in terms of texture, metre, timbre and various other musical qualities. The paper includes background information on the emerging Latin scene in 1940s New York City, as well as traditional instruments used in Latin music.
From the Paper:
"Noro Morales' piece, "110th Street and 5th Avenue" was created in the 1940's amid a thriving Latin music scene in New York City. Morales was born in San Juan, Puerto Rico to a family of prominent musicians (Morales). He achieved success as a composer and musician in his homeland, then later moved to New York in 1935. During this time period, many now-famous Latin musicians such as Tito Puente and Morales composed and experimented with various forms of Latin music. These forms included salsa, meringue, mambo, and rumba. These forms of music incorporated brass and woodwind instruments, mostly in minor keys such as the Cuban tres, above percussion. These forms of music were also lively, up-tempo, and heavily rhythmic, essentially meant for dance (Mambo). Mambo, as well as its predecessors, danzon and salsa, was derived from Afro-Cuban rhythms (Mambo). These sounds and rhythms can be heard in this piece."
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