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Author : Helio Orovio
Publisher : Duke University Press
Page : 252 pages
File Size : 48,7 Mb
Release : 2004-03-12
Category : Biography & Autobiography
ISBN : 0822332124
DIVThe definitive guide to the composers, artists, bands, musical instruments, dances, and institutions of Cuban music./div
Author : Anonim
Publisher : Unknown
Page : 199 pages
File Size : 49,7 Mb
Release : 1939
Category : Electronic
ISBN : OCLC:433140335
Author : Emilio Grenet
Publisher : Unknown
Page : 199 pages
File Size : 52,8 Mb
Release : 1934
Category : Electronic
ISBN : OCLC:915664492
Author : Cristóbal Díaz Ayala
Publisher : Zinn Communications
Page : 266 pages
File Size : 41,7 Mb
Release : 1995
Category : Music
ISBN : 0935016155
The Roots of Salsa is the first English version of the history of Cuban music. This book is a complete and concise history on the Afro-Cuban popular music called Salsa. It includes extensive material on the musicians who developed the musical form and were part of its evolution from Cuba to the United States and beyond.
Author : John Ziff
Publisher : Unknown
Page : 128 pages
File Size : 54,9 Mb
Release : 2018
Category : Cuba
ISBN : 1422279790
Author : Maya Roy
Publisher : Unknown
Page : 266 pages
File Size : 43,6 Mb
Release : 2002
Category : History
ISBN : UTEXAS:059173012322858
Native Americans supplied the maracas. African slaves brought drums and ritual music, and Spaniards brought guitars, brass instruments, and clarinets along with European ballroom dancing. The advent of blues and jazz gave new forms to styles of songs, notably feeling songs, which joined the more traditional styles of trova and bolero. Cuban culture represents a convergence of these diverse backgrounds, and the musical heritage presented in this book reflects these traditions as well. In colonial times, African ritual sounds mixed with Catholic liturgies and brass bands of the Spanish military academies. Ballroom dances, including French music from Haiti popular in 18th-century Havana society, existed side by side with the cabildos (guilds and carnival clubs) and the plantations. The son, considered the expression of Cuban musical identity, had its origins in a rural setting in which African slaves and small farmers from Andalusia worked and played music together, developing many variations over the years, including big band music. Cuban music is now experiencing a major renaissance, and is enjoyed throughout the world.
Author : Emilio Grenet
Publisher : Unknown
Page : 195 pages
File Size : 49,7 Mb
Release : 1939
Category : Electronic
ISBN : OCLC:959046210
Author : Raul A. Fernandez
Publisher : Univ of California Press
Page : 216 pages
File Size : 47,8 Mb
Release : 2006-05-23
Category : Music
ISBN : 9780520939448
This book explores the complexity of Cuban dance music and the webs that connect it, musically and historically, to other Caribbean music, to salsa, and to Latin Jazz. Establishing a scholarly foundation for the study of this music, Raul A. Fernandez introduces a set of terms, definitions, and empirical information that allow for a broader, more informed discussion. He presents fascinating musical biographies of prominent performers Cachao López, Mongo Santamaría, Armando Peraza, Patato Valdés, Francisco Aguabella, Cándido Camero, Chocolate Armenteros, and Celia Cruz. Based on interviews that the author conducted over a nine-year period, these profiles provide in-depth assessments of the musicians’ substantial contributions to both Afro-Cuban music and Latin Jazz. In addition, Fernandez examines the links between Cuban music and other Caribbean musics; analyzes the musical and poetic foundations of the Cuban son form; addresses the salsa phenomenon; and develops the aesthetic construct of sabor, central to Cuban music. Copub: Center for Black Music Research
Author : Anonim
Publisher : Unknown
Page : 876 pages
File Size : 42,6 Mb
Release : 2005
Category : Latin America
ISBN : STANFORD:36105123412111
Author : Emilio Grenet
Publisher : Unknown
Page : 266 pages
File Size : 46,5 Mb
Release : 1939
Category : Cuba
ISBN : UOM:39015009691505
Author : Emilio Grenet
Publisher : Unknown
Page : 128 pages
File Size : 46,6 Mb
Release : 1986-04-01
Category : Electronic
ISBN : 0849033527
Author : Anonim
Publisher : Unknown
Page : 624 pages
File Size : 41,9 Mb
Release : 2003
Category : Arts
ISBN : STANFORD:36105122322303
Author : Stuart Baker,Gilles Peterson
Publisher : Unknown
Page : 180 pages
File Size : 53,7 Mb
Release : 2020-10-27
Category : Art
ISBN : 1916359809
Spanning Cuban music from rumba to salsa, and graphic styles from socialist realist to geometric abstraction, this volume of Cuban record cover art traces a musical form in constant revolution. The first ever book about Cuban record sleeve design, compiled by Gilles Peterson and Stuart Baker, Cuba: Music and Revolutionfeatures hundreds of rarely seen vinyl records from the start of the Cuban Revolution at the beginning of the 1960s up until 1985, when Cuba's Special Period, brought about by the dissolution of the Soviet Union and the withdrawal of Russia's financial support for the Cuban government, led to the demise of vinyl-record manufacturing in Cuba. The artwork here reflects both the cultural and musical depth of Cuba as well as the political influence of revolutionary communism. Over the past century, Cuban music has produced a seemingly endless variety of styles--rumba, mambo, son, salsa--at a dizzyingly fast rate. Since the 1940s a steady stream of Cuban musicians has also made the migration to the US, sparking changes in North American musical forms: bandleader Machito set New York's jazz and Latin scene on fire, and master drummer Chano Pozo's entry into Dizzy Gillespie's group led to the birth of Latin jazz, to name just two. After the Cuban Revolution in 1959, the new government closed American-owned nightclubs and consolidated the island's recording industry under a state-run monopoly. Out of this new socialist agenda came new musical styles, including the Nueva Trova movement of left-wing songwriters. The 1980s saw more experimentation in modernist jazz, salsa and Afro-Cuban folkloric music. Generously illustrated with hundreds of color images, Cuba: Music and Revolutionpresents the history of Cuban record cover art, including many examples previously unseen outside the island itself.
Author : Raquel Z. Rivera,Wayne Marshall,Deborah Pacini Hernandez
Publisher : Duke University Press
Page : 386 pages
File Size : 49,6 Mb
Release : 2010-07-01
Category : Music
ISBN : 9780822392323
A hybrid of reggae and rap, reggaeton is a music with Spanish-language lyrics and Caribbean aesthetics that has taken Latin America, the United States, and the world by storm. Superstars—including Daddy Yankee, Don Omar, and Ivy Queen—garner international attention, while aspiring performers use digital technologies to create and circulate their own tracks. Reggaeton brings together critical assessments of this wildly popular genre. Journalists, scholars, and artists delve into reggaeton’s local roots and its transnational dissemination; they parse the genre’s aesthetics, particularly in relation to those of hip-hop; and they explore the debates about race, nation, gender, and sexuality generated by the music and its associated cultural practices, from dance to fashion. The collection opens with an in-depth exploration of the social and sonic currents that coalesced into reggaeton in Puerto Rico during the 1990s. Contributors consider reggaeton in relation to that island, Panama, Jamaica, and New York; Cuban society, Miami’s hip-hop scene, and Dominican identity; and other genres including reggae en español, underground, and dancehall reggae. The reggaeton artist Tego Calderón provides a powerful indictment of racism in Latin America, while the hip-hop artist Welmo Romero Joseph discusses the development of reggaeton in Puerto Rico and his refusal to embrace the upstart genre. The collection features interviews with the DJ/rapper El General and the reggae performer Renato, as well as a translation of “Chamaco’s Corner,” the poem that served as the introduction to Daddy Yankee’s debut album. Among the volume’s striking images are photographs from Miguel Luciano’s series Pure Plantainum, a meditation on identity politics in the bling-bling era, and photos taken by the reggaeton videographer Kacho López during the making of the documentary Bling’d: Blood, Diamonds, and Hip-Hop. Contributors. Geoff Baker, Tego Calderón, Carolina Caycedo, Jose Davila, Jan Fairley, Juan Flores, Gallego (José Raúl González), Félix Jiménez, Kacho López, Miguel Luciano, Wayne Marshall, Frances Negrón-Muntaner, Alfredo Nieves Moreno, Ifeoma C. K. Nwankwo, Deborah Pacini Hernandez, Raquel Z. Rivera, Welmo Romero Joseph, Christoph Twickel, Alexandra T. Vazquez
Author : Timothy P. Storhoff
Publisher : Univ. Press of Mississippi
Page : 198 pages
File Size : 49,8 Mb
Release : 2020-10-21
Category : Music
ISBN : 9781496830890
Harmony and Normalization: US-Cuban Musical Diplomacy explores the channels of musical exchange between Cuba and the United States during the eight-year presidency of Barack Obama, who eased the musical embargo of the island and restored relations with Cuba. Musical exchanges during this period act as a lens through which to view not only US-Cuban musical relations but also the larger political, economic, and cultural implications of musical dialogue between these two nations. Policy shifts in the wake of Raúl Castro assuming the Cuban presidency and the election of President Obama allowed performers to traverse the Florida Straits more easily than in the recent past and encouraged them to act as musical ambassadors. Their performances served as a testing ground for political change that anticipated normalized relations. While government actors debated these changes, music forged connections between individuals on both sides of the Florida Straits. In this first book on the subject since Obama’s presidency, musicologist Timothy P. Storhoff describes how, after specific policy changes, musicians were some of the first to take advantage of new opportunities for travel, push the boundaries of new regulations, and expose both the possibilities and limitations of licensing musical exchange. Through the analysis of both official and unofficial musical diplomacy efforts, including the Havana Jazz Festival, the National Symphony Orchestra of Cuba’s first US tour, the Minnesota Orchestra’s trip to Havana, and the author’s own experiences in Cuba, this ethnography demonstrates how performances reflect aspirations for stronger transnational ties and a common desire to restore the once-thriving US-Cuban musical relationship.