Afro-Latin American music can be traced during the __________________.

Latin America is composed of regions such as ____________.

The European countries that contributed language and religion to Latin America were ________________.

Afro-Latin American music is identified by its ________.

The enslaved Moors of North America in 1776 were prohibited from playing ____.

In Congo Square, New Orleans, slaves were free to play their drums for ____.

“Talking drums” were called such because they could imitate ____.

By the 18th and 19th centuries, African music spread and developed in the ____.

Which of the following is NOT a characteristic of Afro-Latin American music?

The practice where a leader sings a phrase and the group responds is called ____.

Improvisation in Afro-Latin American music means ____.

The use of the voice as an instrument means ____.

African music is described as ____.

In Africa, music always has the tendency to include ____.

African singers usually perform by singing and using ____.

The African rhythm called “Maracatu” originated in ____.

Maracatu was associated with the ceremony called ____.

The singing part of Maracatu led by the leader is called ____.

Blues became popular in the ________.

A type of music that combines rhythm and blues is ____.

Gospel music is characterized by ____.

The kind of music with a Christian or religious theme is ____.

A direct response between two or more musicians is called ____.

The use of syncopation in Afro-Latin American music led to the development of ____.

Caribbean culture produced dances like ____.

The Cuban dance that influenced Latin American music was ____.

The Brazilian dance with African roots is ____.

Which of the following is an Afro-Latin rhythm and dance?

Instruments commonly used in Afro-Latin American music include ____.

Blues music originated from _______.