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    1) Curaçao was formerly the administrative capital of the Netherlands Antilles and is now a self-governing nation within the Kingdom of the Netherlands. 2) Beginning in the 17th century, the islands of the Netherlands Antilles were controlled by the Dutch West India Company and Curaçao served as an important center for the slave trade. 3) Prominent Curaçaoan composer Wim Statius Muller elaborated on the unique rhythms of Caribbean music which derives from African and Western European influences, though each island has slight variations; he noted Curaçaoan waltzes have a 6/8 implication within their 3/4 rhythm.

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    1) Curaçao was formerly the administrative capital of the Netherlands Antilles and is now a self-governing nation within the Kingdom of the Netherlands. 2) Beginning in the 17th century, the islands of the Netherlands Antilles were controlled by the Dutch West India Company and Curaçao served as an important center for the slave trade. 3) Prominent Curaçaoan composer Wim Statius Muller elaborated on the unique rhythms of Caribbean music which derives from African and Western European influences, though each island has slight variations; he noted Curaçaoan waltzes have a 6/8 implication within their 3/4 rhythm.

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    1) Curaçao was formerly the administrative capital of the Netherlands Antilles and is now a self-governing nation within the Kingdom of the Netherlands. 2) Beginning in the 17th century, the islands of the Netherlands Antilles were controlled by the Dutch West India Company and Curaçao served as an important center for the slave trade. 3) Prominent Curaçaoan composer Wim Statius Muller elaborated on the unique rhythms of Caribbean music which derives from African and Western European influences, though each island has slight variations; he noted Curaçaoan waltzes have a 6/8 implication within their 3/4 rhythm.

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    Lemuel De lemus
    1) Curaçao was formerly the administrative capital of the Netherlands Antilles and is now a self-governing nation within the Kingdom of the Netherlands. 2) Beginning in the 17th century, the islands of the Netherlands Antilles were controlled by the Dutch West India Company and Curaçao served as an important center for the slave trade. 3) Prominent Curaçaoan composer Wim Statius Muller elaborated on the unique rhythms of Caribbean music which derives from African and Western European influences, though each island has slight variations; he noted Curaçaoan waltzes have a 6/8 implication within their 3/4 rhythm.

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    BIBLIOGRAPHY

    Art Music by Caribbean Composers: Curaçao

    Christine Gangelhoff
    The College of The Bahamas1
    Cathleen LeGrand
    Royal Thimphu College, Bhutan
    INTRODUCTION
    Curaçao was formerly the administrative capital of the Netherlands Antilles, the final remnant of the
    Dutch colonial empire in the Caribbean (Sharpe, 2008, para. 8). In 2010, with the official dissolution
    of the Netherlands Antilles, Curaçao became a self-governing nation within the Kingdom of the
    Netherlands (Curaçao, 2012).
    Curaçao is rocky and arid; the climate and terrain of the island inhibit extensive cultivation, preventing
    the development of the agricultural plantations that dominated many of the other West Indian islands
    (Allofs, van Niekerk, Salverda & Dh'aen, 2008). The official languages are Dutch, English and
    Papiamentu, “a Spanish-based creole with Portuguese, Dutch, and English elements” (Netherlands
    Antilles, 2008, para. 2).
    Beginning in the 17th century, the islands of the Netherlands Antilles were controlled by the Dutch
    West India Company, the monopoly responsible for governing Dutch colonies in the Americas. The
    Dutch East India Company held control over Dutch colonies in the Pacific and in Africa (Sharpe,
    2008). The slave trade was one of the West India Company’s ventures, and Curaçao served as an
    important commercial centre and slave depot – a trans-shipment point between West Africa and the
    slave markets of the New World (Dutch empire, 2008). In the 20th century, after the discovery of oil
    in Venezuela, oil refineries were opened in Curaçao and the petroleum industry became a major
    component of the island’s economy (Razak, 2005).
    Folk musical traditions of Curaçao include tambu (also known as “the Curaçao blues”) and tumba
    (Razak, 2005). Art music has long had a presence in Curaçao. Orchestras, concert societies, and art
    musical instruction have been in place since the early 19th century (Gansemans, 2008). Composed
    dance music, for localized versions of dances such as waltz, polkas and mazurkas, is particularly
    popular in Curaçao (Gansemans, 2008). “The most important of these is the Antillean waltz (also
    known as the Curaçaoan waltz), distinguished from its European relatives chiefly by its differently
    accented rhythmic patterns” (Bilby, 2013, para. 10).
    Wim Statius Muller, a prominent composer and pianist from Curaçao, elaborated on the musical
    traditions and unique rhythms of the music of Curaçao and the former Netherlands Antilles.

    1
    Christine Gangelhoff, Assistant Professor, School of Communication and Creative Arts, The College of The
    Bahamas, P.O. Box N-4912, Nassau, Bahamas; Cathleen LeGrand, Librarian, Royal Thimphu College,
    Ngabiphu, Thimphu, Bhutan.
    Acknowledgments: The authors would like to thank Randal Corsen, Johannes “Joop” Halman, Livio Hermans,
    Patrick Mortier and Vanessa Toré for their contributions and assistance with this chapter.
    E-mail: [email protected]
    APA reference: Gangelhoff, C., & LeGrand, C. (2013). Art music by Caribbean composers: Curaçao. The
    International Journal of Bahamian Studies, 19(2), 19-43. Retrieved from
    http://journals.sfu.ca/cob/index.php/files/index
    C. Gangelhoff & C. LeGrand. Art Music: Curaçao. 2

    have a particular type of music, the Caribbean music which derives from African sources, from
    Western European sources—that music is fascinating in its rhythm and you can hear it through all
    the islands. But each one of the islands will have a slightly different version of the same rhythm or
    maybe the melodic idiom will be slightly different. The interesting thing about all these waltzes
    is ... that your basic 3/4 rhythm always has a 6/8 implication. You’re able to hear six running
    eighth notes either in a duple or triple meter. Sometimes you hear the duple and the triple
    combined (Dubal & Statius Muller, 2013).
    The Palm and Boskaljon families have turned out a large number of musicians and composers and
    have “dominated the field of composition for several generations” (Gansemans, 2008, p. 433). Jan
    Gerard Palm, the founder of the musical Palm dynasty, is often called the “father of Curaçao classical
    music” (“Musical homage”, 2012, para. 2).
    The Cultureel Centrum Curaçao (Sentro Kultural Kòrsou) provides private instruction in music, dance,
    and the literary, dramatic, and visual arts. The centre's music school, the Akademia di Músika Edgar
    Palm (re-named for the prominant composer in 1999), “offers classes in piano, guitar, keyboard,
    kuarta and mandolin, recorder (‘blokfluit’), trumpet, saxophone, drum, percussion ... and AMV
    (Algemeen Muziek Vormend onderwijs) = general music education” (“History”, 2011, paras. 6-7).
    Former students at the Akademia include composer and guitarist Randal Corsen (“History”, 2011).

    REFERENCES
    Allofs, L., van Niekerk, A., Salverda, R., & Dh'aen, T. (2008). The Netherlands and its colonies:
    Introduction. In A historical companion to postcolonial literatures: Continental Europe and its
    empires. Retrieved from http://www.credoreference.com
    /entry/edinburghpcl/the_netherlands_and_its_colonies_introduction
    Bilby, K. (2013). Netherlands Antilles and Aruba. In Grove music online. New York, NY: Oxford
    University Press.
    Curacao. (2012). CIA world factbook. Retrieved from https://www.cia.gov/library
    /publications/the-world-factbook/geos/cc.html
    Dubal, D. (Interviewer), & Statius Muller, W. (Interviewee). (2013). Wim Statius Muller & David
    Dubal, 3/8/84 [Interview video file]. Retrieved from http://youtu.be/xveJlEQRO04
    Gansemans, J. (2008). Musical traditions in Aruba, Bonaire and Curaçao. In Kuss, M. Music in Latin
    America and the Caribbean: An encyclopedic history (pp.431-444). Austin: University of Texas
    Press.
    C. Gangelhoff & C. LeGrand. Art Music: Curaçao. 3

    History. (2011). Sentro Kultural Kòrsou. Retrieved from


    http://www.sentrokultural-korsou.org/index.php?
    option=com_content&view=article&id=74&Itemid=67&lang=en
    Musical homage to one of Curaçao's greatest composers. (2012, December 14). Curaçao Chronicle.
    Retrieved from http://www.curacao
    chronicle.com/community/musical-homage-to-one-of-curacaos-greatest-composers/
    Netherlands Antilles. (2008). In The Columbia encyclopedia. Retrieved from
    http://www.credoreference.com/entry/columency/netherlands_antilles
    Razak, V. M. (2005). Netherlands Antilles. In Continuum encyclopedia of popular music of the world:
    Locations. Retrieved from http://www.credoreference.com/entry/contpmwl/netherlands_antilles
    Sharpe, M. O. (2008). Dutch empire. In Africa and the Americas: Culture, politics, and history.
    Retrieved from http://www.credo
    reference.com/entry/abcafatrle/dutch_empire

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