Arturo O'farrill Quartet
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Leo Brouwer 251 Roberto Valera 260 Harold Gramatges 263 Argeliers León 272 Carlos Fariñas 277
UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE GEOGRAFÍA E HISTORIA Departamento de Arte III (Contemporáneo) TENDENCIAS DE LO NACIONAL EN LA CREACIÓN INSTRUMENTAL CUBANA CONTEMPORÁNEA MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Marta Rodríguez Cuervo Bajo la dirección del Doctor: Emilio Casares Rodicio Madrid, 2002 ISBN: 84-669-1985-6 TESIS DOCTORAL TENDENCIAS DE LO NACIONAL EN LA CREACIÓN INSTRUMENTAL CUBANA CONTEMPORÁNEA (1947 – 1980). MARTA RODRÍGUEZ CUERVO UNIVERSIDAD COMPLUTENSE DE MADRID. 2001 – 2002 TESIS DOCTORAL TENDENCIAS DE LO NACIONAL EN LA CREACIÓN INSTRUMENTAL CUBANA CONTEMPORÁNEA (1947 – 1980). MARTA RODRÍGUEZ CUERVO DIRECTOR DE TESIS: DR. EMILIO CASARES RODICIO DEPARTAMENTO ARTE III CONTEMPORÁNEO UNIVERSIDAD COMPLUTENSE DE MADRID. MADRID, OCTUBRE DE 2001 TENDENCIAS DE LO NACIONAL EN LA CREACIÓN INSTRUMENTAL CUBANA CONTEMPORÁNEA (1947 – 1980). ÍNDICE GENERAL ÍNDICE • Agradecimientos 6 • Prólogo Hacia un enfoque crítico de la obra instrumental cubana contemporánea 8 • Capítulo I De la fuente al intelecto Introducción 18 Elementos fundamentales de comunicación de la música cubana de antecedente hispano-europeo más próximos al músico culto 20 Anexo 29 Elementos fundamentales de comunicación de la música cubana de antecedente africano más próximos al músico culto 32 Elementos fundamentales de comunicación de la contradanza bailable cubana y el danzón más próximos al músico culto 41 Elementos fundamentales de comunicación del complejo del son más próximos al músico culto 49 • Capítulo II Trayecto de lo cubano en un espacio -
Joseph Jarman's Black Case Volume I & II: Return
Joseph Jarman’s Black Case Volume I & II: Return From Exile February 13, 2020 By Cam Scott When composer, priest, poet, and instrumentalist Joseph Jarman passed away in January 2019, a bell sounded in the hearts of thousands of listeners. As an early member of the Association for the Advancement of Creative Musicians (AACM), as well as its flagship group, the Art Ensemble of Chicago, Jarman was a key figure in the articulation of Great Black Music as a multi- generational ethic rather than a standard repertoire. As an ordained Buddhist priest, Jarman’s solicitude transcended philosophical affinity and deepened throughout his life as his music evolved. His musical, poetic, and religious paths appear to have been mutually informative, in spite of a hiatus from public performance in the nineties—and to encounter Jarman’s own words is to understand as much. The full breadth of this complexity is celebrated in the long-awaited reissue of Black Case Volume I & II: Return from Exile, a blend of smut and sutra, poetry and polemic, that feels like a reaffirmation of Jarman’s ambitious vision in the present day. Black Case wears its context proudly. A near-facsimile of the original 1977 publication by the Art Ensemble of Chicago (which itself was built upon a coil-bound printing from 1974), the volume serves as a time capsule of a key period in the development of an emancipatory musical and cultural program, and an intimate portrait of the artist-as-revolutionary. Black Case, then, feels most contemporary where it is most of its time, as a document of Black militancy and programmatic self-determination in which—to paraphrase Larry Neal’s 1968 summary of the Black Arts Movement—ethics and aesthetics, individual and community, are tightly unified. -
Museum Archivist
Newsletter of the Museum Archives Section Museum Archivist Summer 2020 Volume 30, Issue 2 Letter From the Chair Fellow MAS and SAA members, To be blunt, we are currently in the midst of a challenging period of historic proportions. On top of a charged atmosphere filled with vitriol, 2020 has witnessed the unfolding of both a global pandemic and racial tensions exacerbated by systemic racism in law enforcement. The combination of this perfect storm has sowed a climate of chaos and uncertainty. It is easy to feel demoralized and discouraged. For your own mental health, allow yourself to feel. Allow yourself to take a breath and acknowledge that you are bearing witness to a uniquely challenging period like few in global history. Yet, there is reason to hope. The trite phrase, “that which does not kill us only makes us stronger” has significance. We adapt, learn, grow and improve. If this all is to be viewed as an incredible challenge, rest assured, we will overcome it. (To use yet another timeless phrase, “this, too, shall pass.”) I am curious to see what new measures, what new policies, what new courses of action we, as professionals in the field(s) of libraries, archives, and museums (LAMs) will implement to further enhance and reinforce the primary goals of our respective professions. One question that keeps coming to mind is how the archives field—specifically as it relates to museums— will survive and adapt in the post-COVID-19 world. People will continue to turn to publicly available research material to learn and educate others. -
Historical Background
Historical Background Lesson 3 The Historical Influences… How They Arrived in Argentina and Where the Dances’ Popularity is Concentrated Today The Chacarera History: WHAT INFLUENCES MADE THE CHACARERA WHAT IT IS TODAY? HOW DID THESE INFLUENCES MAKE THEIR WAY INTO ARGENTINA? The Chacarera was influenced by the pantomime dances (the Gallarda, the Canario, and the Zarabanda) that were performed in the theaters of Europe (Spain and France) in the 1500s and 1600s. Later, through the Spanish colonization of the Americas, the Chacarera spread from Peru into Argentina during the 1800s (19th century). As a result, the Chacarera was also influenced by the local Indian culture (indigenous people) of the area. Today, it is enjoyed by all social classes, in both rural and urban areas. It has spread throughout the entire country except in the region of Patagonia. Popularity is concentrated in which provinces? It is especially popular in Santiago del Estero, Tucuman, Salta, Jujuy, Catamarca, La Rioja and Cordoba. These provinces are located in the Northwest, Cuyo, and Pampas regions of Argentina. There are many variations of the dance that are influenced by each of the provinces (examples: The Santiaguena, The Tucumana, The Cordobesa) *variations do not change the essence of the dance The Gato History: WHAT INFLUENCES MADE THE GATO WHAT IT IS TODAY? HOW DID THESE INFLUENCES MAKE THEIR WAY INTO ARGENTINA? The Gato was danced in many Central and South American countries including Mexico, Peru, Chile, Uruguay, and Paraguay, however, it gained tremendous popularity in Argentina. The Gato has a very similar historical background as the other playfully mischievous dances (very similar to the Chacarera). -
The Barzakh of Flamenco: Tracing the Spirituality, Locality and Musicality of Flamenco from South of the Strait of Gibraltar
SIT Graduate Institute/SIT Study Abroad SIT Digital Collections Independent Study Project (ISP) Collection SIT Study Abroad Fall 2011 The aB rzakh of Flamenco: Tracing the Spirituality, Locality and Musicality of Flamenco From South of the Strait of Gibraltar Tania Flores SIT Study Abroad Follow this and additional works at: https://digitalcollections.sit.edu/isp_collection Part of the Dance Commons, Ethnomusicology Commons, and the Other Languages, Societies, and Cultures Commons Recommended Citation Flores, Tania, "The aB rzakh of Flamenco: Tracing the Spirituality, Locality and Musicality of Flamenco From South of the Strait of Gibraltar" (2011). Independent Study Project (ISP) Collection. 1118. https://digitalcollections.sit.edu/isp_collection/1118 This Unpublished Paper is brought to you for free and open access by the SIT Study Abroad at SIT Digital Collections. It has been accepted for inclusion in Independent Study Project (ISP) Collection by an authorized administrator of SIT Digital Collections. For more information, please contact [email protected]. The Barzakh of Flamenco: Tracing the Spirituality, Locality and Musicality of Flamenco from South of the Strait of Gibraltar Tania Flores Occidental College Migration and Transnational Identity: Fall 2011 Flores 2 Acknowledgments I could not have completed this project without the advice and guidance of my academic director, Professor Souad Eddouada; my advisor, Professor Taieb Belghazi; my professor of music at Occidental College, Professor Simeon Pillich; my professor of Islamic studies at Occidental, Professor Malek Moazzam-Doulat; or my gracious and helpful interviewees. I am also grateful to Elvira Roca Rey for allowing me to use her studio to choreograph after we had finished dance class, and to Professor Said Graiouid for his guidance and time. -
The Global Reach of the Fandango in Music, Song and Dance
The Global Reach of the Fandango in Music, Song and Dance The Global Reach of the Fandango in Music, Song and Dance: Spaniards, Indians, Africans and Gypsies Edited by K. Meira Goldberg and Antoni Pizà The Global Reach of the Fandango in Music, Song and Dance: Spaniards, Indians, Africans and Gypsies Edited by K. Meira Goldberg and Antoni Pizà This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by K. Meira Goldberg, Antoni Pizà and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9963-1 ISBN (13): 978-1-4438-9963-5 Proceedings from the international conference organized and held at THE FOUNDATION FOR IBERIAN MUSIC, The Graduate Center, The City University of New York, on April 17 and 18, 2015 This volume is a revised and translated edition of bilingual conference proceedings published by the Junta de Andalucía, Consejería de Cultura: Centro de Documentación Musical de Andalucía, Música Oral del Sur, vol. 12 (2015). The bilingual proceedings may be accessed here: http://www.centrodedocumentacionmusicaldeandalucia.es/opencms/do cumentacion/revistas/revistas-mos/musica-oral-del-sur-n12.html Frontispiece images: David Durán Barrera, of the group Los Jilguerillos del Huerto, Huetamo, (Michoacán), June 11, 2011. -
The City University of New York Committee on Academic Policy, Programs and Research
THE CITY UNIVERSITY OF NEW YORK COMMITTEE ON ACADEMIC POLICY, PROGRAMS AND RESEARCH AGENDA April 6, 2017 I. Action Items A. Approval of the minutes of the February 6, 2017 meeting B. Policy Calendar 1. Brooklyn College – MM in Global and Contemporary Jazz 2. Medgar Evers College – Establishment of the Department of Social Work 3. Brooklyn College – Resolution to Award an Honorary Degree at the College’s Commencement a) Bernard Sanders – US Senator representing the state of Vermont Degree: Doctor of Humane Letters 4. Hunter College – Resolution to Award an Honorary Degree at the College’s Commencement a) Arthur Elgort ’64 – Influential fashion photographer Degree: Doctor of Fine Arts 5. CUNY School of Law - Resolution to Award an Honorary Degree at the School’s Commencement a) Sherrilyn Ifill – President and Director – NAACP – Legal Defense and Education Fund Degree: Doctor of Law 6. The College of Staten Island - Resolution to Award Honorary Degrees at the College’s Commencement a) Margaret Ricciardi ’86 – Artist and benefactor Degree: Doctor of Arts b) Andy Shih, Senior Vice President, Public Health and Inclusion at Autism Speaks, NY Degree: Doctor of Science c) Deidre DeAngelis, Principal of New Dorp High School Degree: Doctor of Humane Letters d) Peter and Robin Jovanovich, College Benefactors Degree: Doctor of Humane Letters 7. CUNY Graduate School of Public Health and Health Policy - Resolution to Award an Honorary Degree at the School’s Commencement a) Chirlane McCray, First Lady of New York City and Mental Health Advocate Degree: Doctor of Science 8. Graduate School and University Center - Resolution to Award Honorary Degrees at the School’s Commencement a) Vanita Gupta, former Principal US Deputy Assistant Attorney General Degree: Doctor of Humane Letters b) Wael Shawky, artist Degree: Doctor of Humane Letters c) Lord Nicholas Stern, Chair of the Grantham Research Institute on Climate Change and the Environment Degree: Doctor of Humane Letters 9. -
The Evolution of Ornette Coleman's Music And
DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style. -
Cuba Restaurant | Delivery & Catering Menu
Served with Ceviche Seafd & Fish chips! Aetizers (served with chips) SALMON MIRAMAR 19 Sandwiches EMPANADAS HABANERAS CEVICHE 15 pan-seared salmon fillet, shrimp, SANDWICH CUBANO 10 shrimp, scallops, calamari, avocado, roasted pork, ham, pickles, swiss cheese, 2 for $ 6 / 3 for $9 coconut rice, lobster sauce cilantro, red onion, jalapeño, mustard, pressed cuban bread Choice of: spinach-manchego cheese, sweet peppers, citrus juices beef picadillo or shredded chicken, CAMARONES ENCHILADOS 18 served with tomatillo salsa LOMO ASADO 10 braised shrimp in tomato creole sauce, pork tenderloin, mustard, tomato, avocado onions, peppers, thyme PAPAS RELLENAS 7 Salads LOMO DE CERDO 10 two crispy potato balls with beef picadillo Add chicken 5 | shrimp 7 | skirt steak 8 pork tenderloin, sauteed onions, or cheese served with tomato salsa BACALAO GRATINADO 22 ENSALADA DE CUBA 10 fresh cod fish gratin, aioli & pisto green peppers, tartar saue CHORIZO AL JEREZ 10 mixed green salad, avocado, CALAMARI 15 sautéed spanish chorizo, parsley, cherry tomatoes, red onions, PULPO A LA PLANCHA 22 balsamic vinaigrette crispy calamari, cherry tomatoes, onions, aioli sherry wine reduction and garlic bread grilled octopus, roasted potatoes & aioli PULPO 10 CALAMARES CON TAMARINDO 9 grilled octopus, spanish chorizo, patatas, crispy calamari, sweet plantains, onions, herbs aioli cherry tomato, tamarind vinaigrette TOSTONES RELLENOS 9 Meat green plantains stuffed with shrimp, Soups sofrito sauce BISTEC DE PALOMILLA 22 Chicken grilled-pounded sirloin steak, sautéed SOPA -
HISPANIC MUSIC for BEGINNERS Terminology Hispanic Culture
HISPANIC MUSIC FOR BEGINNERS PETER KOLAR, World Library Publications Terminology Spanish vs. Hispanic; Latino, Latin-American, Spanish-speaking (El) español, (los) españoles, hispanos, latinos, latinoamericanos, habla-español, habla-hispana Hispanic culture • A melding of Spanish culture (from Spain) with that of the native Indian (maya, inca, aztec) Religion and faith • popular religiosity: día de los muertos (day of the dead), santería, being a guadalupano/a • “faith” as expession of nationalistic and cultural pride in addition to spirituality Diversity within Hispanic cultures Many regional, national, and cultural differences • Mexican (Southern, central, Northern, Eastern coastal) • Central America and South America — influence of Spanish, Portuguese • Caribbean — influence of African, Spanish, and indigenous cultures • Foods — as varied as the cultures and regions Spanish Language Basics • a, e, i, o, u — all pure vowels (pronounced ah, aey, ee, oh, oo) • single “r” vs. rolled “rr” (single r is pronouced like a d; double r = rolled) • “g” as “h” except before “u” • “v” pronounced as “b” (b like “burro” and v like “victor”) • “ll” and “y” as “j” (e.g. “yo” = “jo”) • the silent “h” • Elisions (spoken and sung) of vowels (e.g. Gloria a Dios, Padre Nuestro que estás, mi hijo) • Dipthongs pronounced as single syllables (e.g. Dios, Diego, comunión, eucaristía, tienda) • ch, ll, and rr considered one letter • Assigned gender to each noun • Stress: on first syllable in 2-syllable words (except if ending in “r,” “l,” or “d”) • Stress: on penultimate syllable in 3 or more syllables (except if ending in “r,” “l,” or “d”) Any word which doesn’t follow these stress rules carries an accent mark — é, á, í, ó, étc. -
Cuban Music Teaching Unit
Thesis Advisor: Frank Martignetti THE MUSIC AND DANCE OF CUBA: by Melissa Salguero Music Education Program Submitted in partial fulfillment of the requirements for the degree Master of Science in Elementary Education in the School of Education University of Bridgeport 2015 © 2015 by Melissa Salguero Salguero 2 Abstract (Table of Contents) This unit is designed for 5th grade students. There are 7 lessons in this unit. Concept areas of rhythm, melody, form, and timbre are used throughout the unit. Skills developed over the 7 lessons are singing, moving, listening, playing instruments, reading/writing music notation, and creating original music. Lesson plans are intended for class periods of approximately 45-50 minutes. Teachers will need to adapt the lessons to fit their school’s resources and the particular needs of their students. This unit focuses on two distinct genres of Cuban music: Son and Danzón. Through a variety of activities students will learn the distinct sound, form, dance, rhythms and instrumentation that help define these two genres. Students will also learn about how historical events have shaped Cuban music. Salguero 3 Table of Contents: Abstract……………………………………………..…………………………..2 Introduction……………………………………….……………………………4 Research…………………………………………..……………………………5 The Cuban Musical Heritage……………….……………………………5 The Discovery of Cuba…….……………………………………………..5 Indigenous Music…...…………………………………………………….6 European Influences……………………………………………….……..6 African Influences………………………………………………………...7 Historical Influences……………………….……………………………..7 -
Documentación Técnica Salsa Cubana SLSC
Documentación técnica Salsa cubana SLSC as raíces de la salsa pueden del nuevo ritmo al que llamaban «son». El remontarse a los antepasados antecedente más directo pues, de la salsa es Lafricanos que fueron enviados al el son cubano que a su vez es una Caribe por los españoles como esclavos. En combinación de distintas influencias África, es muy común encontrar gente europeas y africanas, aunque se nombra tocando música con instrumentos como la frecuentemente, y de manera genérica, conga y la pandereta, instrumentos que como madre de la salsa a la música también son usados comúnmente en la tradicional cubana. Los primeros pasos de música salsa. La confusión que se suele este baile, pues, se desarrollaron en el producir sobre la nomenclatura de la música Casino Deportivo de La Habana y otros afro-caribeña tiene que ver más con salones de baile de la capital cubana a estrategias de mercado que con diferencias finales de los años cincuenta, de ahí el musicales. nombre que tiene en Cuba: casino, aunque originalmente se le llamó el baile del Casino. Se dice que era, en primera instancia, una expresión de baile exclusivo de esclavos que no podían dar pasos muy grandes por culpa de las cadenas que estaban sujetas a sus tobillos para impedir que escapasen. Por ese motivo, cuando los esclavos se reunían por las noches para bailar, sólo les quedaba una solución para hacer que el baile fuera más interesante, y era aumentar la velocidad del ritmo a la vez que hacían los pasos mucho más cortos. Para un esclavo, el baile era como una luz de esperanza en su cruda existencia y, aunque no se sabe si esta referencia histórica es del todo cierta, las letras amargas y las dulces melodías de temas como «El Preso» y «Rebelión» así lo hacen pensar.