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Popular Music and Society Volume 45, 2022 - Issue 4: Special Issue on Jazz Diasporas; Guest editors: Bruce Johnson and Adam Havas
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Articles

An Exploration of the East Indian and African Music Traditions in Trinidad and Tobago: The Case of Mungal Patasar and Pantar

Jill-Ann Walters-Morrisa Independent scholarCorrespondence[email protected]
ORCID Iconhttps://orcid.org/0000-0001-6453-3998View further author information
ORCID Icon,
Clarence Morrisa Independent scholarORCID Iconhttps://orcid.org/0000-0002-6406-2812View further author information
ORCID Icon &
Rachel-Ann Charles-Hattb Birmingham Institute of Media and English, Birmingham City University, Birmingham, UKORCID Iconhttps://orcid.org/0000-0002-1151-271XView further author information
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Pages 486-503 | Published online: 28 Sep 2022

Figures & data

Figure 1. The opening motif of Bolo Ji Bolo. Source: Ali, Sholay and Melody Makers. Bolo Ji Bolo. Transcribed by Clarence Morris. Trinidad and Tobago: Balroop’s Record Shop, 1961.

Figure 1. The opening motif of Bolo Ji Bolo. Source: Ali, Sholay and Melody Makers. Bolo Ji Bolo. Transcribed by Clarence Morris. Trinidad and Tobago: Balroop’s Record Shop, 1961.

Figure 2. Motif from “Everytime Ah Pass.” Source: Olive Walke’s La petite Musicale. Everytime Ah Pass. Transcribed by Clarence Morris. Trinidad and Tobago: RCA Victor, 1963.

Figure 2. Motif from “Everytime Ah Pass.” Source: Olive Walke’s La petite Musicale. Everytime Ah Pass. Transcribed by Clarence Morris. Trinidad and Tobago: RCA Victor, 1963.

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