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THE CONGA DRUM: DEVELOPMENT, TECHNIQUE, STYLES, IMPROVISATIONS AND THE CONTRIBUTION OF MASTER DRUMMER RAMON 'MONGO' SANTAMARIA ALEX PERTOUT Submitted in partial fulfilment of the requirements of the degree of Master of Philosophy in Music [by Research] August 2008 Faculty of Arts Australian National University ABSTRACT This thesis aims to document the broad development of the conga drum or tumbadora as it is known in Spanish, a hand drum of Congolese descent which developed in Cuba. The conga drum is now one of the most popular rhythmic instruments found in the world today, taking part in a wide range of musical settings. The research includes a historical perspective, a detailed analysis of sounds, hand technique, rhythms and improvisations, with particular reference to the contribution of master drummer Ramon 'Mongo' Santamaria, arguably the most influential player in the history of the instrument. The thesis also contains a detailed examination of personal tuning and set‐up preferences, an introduction to the instrumental sticks known as claves, an analysis of the clave concept, its connection with rhythm and song, as well as a detailed examination of the rhythmic and improvisational evolution of the conga drum over the years. The methodology utilised in this thesis includes analysis of musical sound, oral history gathered directly from cultural bearers, as well as transcription of audio‐visual material. The essence of the thesis is not only to document the historical development of the instrument as well as Santamaria’s musical journey, but it also aims to examine new hand techniques, as well as the wider vocabulary available to the conga drummer, in music making today. iii DECLLARATIOON TO WHOOM IT MAYY CONCERN This is to certify thaat: 1. TThe thesis comprises my originaal work towwards the ddegree, exccept wheree otherwisee indicated. 2. Due acknowwledgment has been mmade in the text to all oother materrials used. Signature: Name inn full: Alex PPertout Date: August 2008 vv DEDICATION Dedicated to my son, Julian Alexander Pertout (b. Melbourne, 20 February 1997) vii ACKNOWLEDGEMENTS My special thanks to my supervisors at the ANU: Gary France for his constant help, thoughtful suggestions, and overall enthusiasm and support in my research project. Dr Stephen Wild for his advice and assistance in all areas of the presentation of the thesis. My special thanks to an esteem group of individuals that graciously accepted my requests for interviews, assisting my mission without hesitation: Alex Acuña, Jack Costanzo, Joey De Leon Jr, Javier Fredes, Larry Harlow, Mark Levine, Jose Madera, Paoli Mejias, Graham Morgan, David Ortiz, Bob Quaranta, Victor Pantoja, Armando Peraza, Karl Perazzo, Hossam Ramzy, Raul Rekow, Ruben Rodriguez, Dario Rosendo, Daniel Sadownick, Tommy Saito, Bobby Sanabria, John Santos, Marty Sheller and Michael Spiro. My special thanks to the following individuals for their assistance: Pedro Barierra in Puerto Rico, for the extraordinary audio‐visual footage of Santamaria at the Quasimodo jazz club in Berlin, as well as the footage of David Ortiz and Richie Flores. Richard Miller, former Librarian at The VCA Lenton Parr Library, Faculty of the Victorian College of the Arts, University of Melbourne, for his research guidance. Dr Jonty Stockdale, former Head of School at VCA Music, Faculty of the Victorian College of the Arts, University of Melbourne, for his support. A very special thank you to those close to me, who supported my research throughout the process: Dr Andrian Pertout, who helped me tirelessly right through my dissertation, from guiding and suggesting, to answering the never ending set of queries. Nilusha Baeder, for all her help and support throughout the development of my thesis. Maritza Pertout, for transferring all the footage, including the Santamaria tape to dvd disc format. My son Julian Alexander Pertout, for all his help in the photographic content of the thesis. ix

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techniques, as well as the wider vocabulary available to the conga drummer, in music making today. humble settings of folkloric drumming performance, has had an enormous impact in music from the fact that they didn't feel comfortable teaching, they actually didn't need to.70 Santos eventually