Popular Cuban Music
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The Rough Guide to Cuban Music
Author | : Philip Sweeney |
Publsiher | : Rough Guides |
Total Pages | : 372 |
Release | : 2001 |
Genre | : Music |
ISBN | : 1858287618 |
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Cuba is home to some of the world's most vibrant popular music in the world, from son and rumba to salsa and chachacha. The Rough Guide to Cuban Music introduces the full range of Cuba's varied musical traditions and tells the story of their greatest performers, legends like Beny More, Celina Gonzalea alongside more recent stars such as Carlos Varela. Includes features on the origins and development of the various musical genres, a biographical directory of over 100 key artists, with dozens of photographs. Also draws up some critical discographies, recommending the pick of each artist's output.
Popular Cuban Music 80
![Popular Cuban Music 80](https://youbookinc.com/wp-content/uploads/2024/06/cover.jpg)
Author | : Anonim |
Publsiher | : Unknown |
Total Pages | : 199 |
Release | : 1939 |
Genre | : Electronic Book |
ISBN | : OCLC:433140335 |
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Cuban Music from A to Z
Author | : Helio Orovio |
Publsiher | : Duke University Press |
Total Pages | : 252 |
Release | : 2004-03-12 |
Genre | : Biography & Autobiography |
ISBN | : 0822332124 |
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DIVThe definitive guide to the composers, artists, bands, musical instruments, dances, and institutions of Cuban music./div
Cuba and Its Music
Author | : Ned Sublette |
Publsiher | : Chicago Review Press |
Total Pages | : 690 |
Release | : 2007-02 |
Genre | : History |
ISBN | : 9781569764206 |
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This entertaining history of Cuba and its music begins with the collision of Spain and Africa and continues through the era of Miguelito Valdes, Arsenio Rodriguez, Benny More, and Perez Prado. It offers a behind-the-scenes examination of music from a Cuban point of view, unearthing surprising, provocative connections and making the case that Cuba was fundamental to the evolution of music in the New World. The ways in which the music of black slaves transformed 16th-century Europe, how the "claves" appeared, and how Cuban music influenced ragtime, jazz, and rhythm and blues are revealed. Music lovers will follow this journey from Andalucia, the Congo, the Calabar, Dahomey, and Yorubaland via Cuba to Mexico, Puerto Rico, Saint-Domingue, New Orleans, New York, and Miami. The music is placed in a historical context that considers the complexities of the slave trade; Cuba's relationship to the United States; its revolutionary political traditions; the music of Santeria, Palo, Abakua, and Vodu; and much more.
Music in Cuba
Author | : Alejo Carpentier |
Publsiher | : U of Minnesota Press |
Total Pages | : 316 |
Release | : 2001 |
Genre | : Music |
ISBN | : 0816632308 |
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"In the wake of the Buena Vista Social Club, the world has rediscovered the rich musical tradition of Cuba. A unique combination of popular and elite influences, the music of this island nation has fascinated since the golden age of the son - that new World aural collision of Africa and Europe that made Cuban music the rage in Paris, New York, and Mexico beginning in the 1920s." "Drawing on such primary documents as obscure church circulars, dog-eared musical scores pulled from attics, and the records of the Spanish colonial authorities, Music in Cuba sweeps from the sixteenth to the twentieth centuries. Carpentier covers European-style elite Cuban music as well as the popular worlds of rural Spanish folk and Afro-Cuban urban music."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Popular Cuban Music
![Popular Cuban Music](https://youbookinc.com/wp-content/uploads/2024/06/cover.jpg)
Author | : Emilio Grenet |
Publsiher | : Unknown |
Total Pages | : 199 |
Release | : 1934 |
Genre | : Electronic Book |
ISBN | : OCLC:915664492 |
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Cuban Music
Author | : Maya Roy |
Publsiher | : Unknown |
Total Pages | : 266 |
Release | : 2002 |
Genre | : History |
ISBN | : UTEXAS:059173012322858 |
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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.
Origins of Cuban Music and Dance
Author | : Benjamin Lapidus |
Publsiher | : Scarecrow Press |
Total Pages | : 222 |
Release | : 2008-10-17 |
Genre | : Music |
ISBN | : 9781461670292 |
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Origins of Cuban Music and Dance: Changüí is the first in-depth study of changüí, a style of music and dance in Guantánamo, Cuba. Changüí is analogous to blues in the United States and is a crucible of Cuban Creole culture. Benjamin Lapidus describes changüí and its relationship to the roots of son, Cuba's national genre and the style of music that contributed to the development of salsa, in Eastern Cuba. He also highlights the connections between Afro-Haitian music and Cuban popular music through changüí, connections with the Caribbean that have been largely overlooked in the past. After an initial historical discussion about the region of Guantánamo and the inter-connectedness of its various musical styles with a focus on changüí, Lapidus discusses the technical aspects of the genre as practiced within the region and beyond. He considers the socio-historical importance of its lyrics, presenting numerous musical transcriptions that explain how the music is structured, as well as providing background stories to songs. In a chapter unique to this book and a first in Cuban musicology and ethnography, Lapidus describes years of festivals and musical competitions to show how local musical identity takes shape, particularly when encountering national narratives of music history. The volume concludes with a comparison between changüí and son, as well as a bibliography, discography, and videography.