Cuba and Its Music: From the First Drums to the Mambo
Chicago Review Press, 2007 - 688 páginas
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.
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In this fascinating first volume of a two-part chronicle, Sublette, a musician, self-made scholar, radio show host, and record producer based in New York City, ranges across Africa, Spain, the ... Leer reseña completa
Otras ediciones - Ver todo
Cuba and Its Music: From the First Drums to the Mambo, Volumen 1
Vista previa restringida - 2004
Abakuá African Afro-Cuban American Arabic Arcaño arrived Arsenio Arsenio Rodríguez band Bantu bass batá Batista Bauzá became began Benny bolero bongó cabildos Cabrera called Carpentier Casino century Chano Chano Pozo charanga clave colony comparsas composed conga Congo Conjunto contradanza Cuba’s Cuban music Cugat culture dance danzón Díaz Ayala drums Europe Fernando guaguancó guitar Habanero Havana instrument Islam island jazz jazzband José known Latin López Lucumí Machado Machito mambo María Martí Matanzas Mexican Mexico Miguelito Miguelito Valdés Mil Diez Montaner movie musicians Muslim negros nganga numbers orchestra Oriente orishas Orleans Orquesta Ortiz percussion piano played players popular Prío Puerto Rican radio record religion rhythm rhythmic Rita Montaner Rodríguez rumba Saint-Domingue santería Santiago de Cuba Santo Sevilla Sexteto singer singing slave trade song Sonora Matancera sound Spain Spanish style sugar Taíno tango theater took tradition trumpet tune United Valdés word wrote York Yoruba
Página 40 - They show that .a perpetual and impassable barrier was intended to be erected between the white race and the one which they had reduced to slavery, and governed as subjects with absolute and despotic power, and which they then looked upon as so far below them in the scale of created beings, that intermarriages between white persons and negroes or mulattoes were regarded as unnatural and immoral, and punished as crimes...
Página 40 - ... scale of created beings, that intermarriages between white persons and negroes or mulattoes were regarded as unnatural and immoral, and punished as crimes, not only in the parties, but in the person who joined them in marriage. And no distinction in this respect was made between the free negro or mulatto and the slave, but this stigma, of the deepest degradation, was fixed upon the whole race.
Página 45 - Songs were and are the prime carriers of history among this non-literate folk. In recounting the ritual associated with the giving of offerings to the souls of those who were transported into slavery, this function of song came out with great clarity. The informant at one point could not recall the sequence of important names in the series he was giving. Under his breath, to the accompaniment of clicking finger-nails, he began to sing, continuing his song for some moments. When he stopped he had...
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