Bibliografia Cubana 1984
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Biennals 10-13 CUBAN
Iniva: Stuart Hall Library: Select Bibliography 2008 States of Exchange: Artists from Cuba/ Estados de Intercambio: Artistas de Cuba Jeanette Chávez Autocensura / Self-Censorship , 2006 Video, 2:52 min Image courtesy of the artist CONTENTS CUBAN ARTISTS 2-7 CUBAN ART 7-9 CUBAN ART: Biennals 10-13 CUBAN ART: Biennals: Journal articles 13 CUBA ART: Context 14-15 Iniva: Stuart Hall Library: Select Bibliography 2008 States of Exchange: Artists from Cuba/ Estados de Intercambio: Artistas de Cuba ITEM LIBRARY SHELF NUMBER CUBAN ARTISTS Alfonzo, Carlos AS ALF Viso, Olga M. (ed.) Triumph of the Spirit, Carlos Alfonzo: a survey 1975-1991 . Miami: Miami Art Museum 1998. Bedia, Jose AS BED Jose Bedia: Fabula . Bogota: Galeria Fernando Quintana, 1993. Brugera, Tania AS BRU Tania Bruguera: esercizio di resistenza = exercise in resistance . Turin: Franco Soffiantino Arte Contemporanea, 2004. Campos-Pons, Maria Magdalena AS CAM Maria Magdalena Campos-Pons: meanwhile, the girls were playing . Cambridge Mass.: MIT List Visual Arts Centre, 2000. Capote, Ivan AS CAP Ivan Capote . Herausgabe: Havana Edition, 2007. Ivan Capote: Aforismos . AS CAP Cuba: Galeria Habana, 2007. Capote, Yoan AS CAP Yoan Ca pote. Herausgabe: Havana Edition, 2007. Carmona, Williams AS CAR Todos miran, pocos ven /they all look, but few only see . [Paris]: Corinne Timsit International Galleries, [n.d.] Castro, Humberto AS CAS Humberto Castro: le radeau d'Ulysse Paris: Le monde de l'art, [n.d.] [Text in French] Ceballos, Sandra AS CEB Ceballos, Sandra and Suárez, Ezequiel (curs.) Dónde está Loló: Pinturas: Sandra Ceballos . La Habana: Centro Wifredo Lam, 1995. Text in Spanish] 2 Iniva: Stuart Hall Library: Select Bibliography 2008 States of Exchange: Artists from Cuba/ Estados de Intercambio: Artistas de Cuba ITEM LIBRARY SHELF NUMBER Cuenca, Arturo AS CUE Arturo Cuenca: Modernbundo . -
The-Piano-Teaching-Legacy-Of-Solomon-Mikowsky.Pdf
! " #$ % $%& $ '()*) & + & ! ! ' ,'* - .& " ' + ! / 0 # 1 2 3 0 ! 1 2 45 3 678 9 , :$, /; !! < <4 $ ! !! 6=>= < # * - / $ ? ?; ! " # $ !% ! & $ ' ' ($ ' # % %) %* % ' $ ' + " % & ' !# $, ( $ - . ! "- ( % . % % % % $ $ $ - - - - // $$$ 0 1"1"#23." 4& )*5/ +) * !6 !& 7!8%779:9& % ) - 2 ; ! * & < "-$=/-%# & # % %:>9? /- @:>9A4& )*5/ +) "3 " & :>9A 1 The Piano Teaching Legacy of Solomon Mikowsky by Kookhee Hong New York City, NY 2013 2 TABLE OF CONTENTS Preface by Koohe Hong .......................................................3 Endorsements .......................................................................3 Comments ............................................................................5 Part I: Biography ................................................................12 Part II: Pedagogy................................................................71 Part III: Appendices .........................................................148 1. Student Tributes ....................................................149 2. Student Statements ................................................176 -
Race, Nation, and Popular Culture in Cuban New York City and Miami, 1940-1960
Authentic Assertions, Commercial Concessions: Race, Nation, and Popular Culture in Cuban New York City and Miami, 1940-1960 by Christina D. Abreu A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (American Culture) in The University of Michigan 2012 Doctoral Committee: Associate Professor Jesse Hoffnung-Garskof Associate Professor Richard Turits Associate Professor Yeidy Rivero Associate Professor Anthony P. Mora © Christina D. Abreu 2012 For my parents. ii Acknowledgments Not a single word of this dissertation would have made it to paper without the support of an incredible community of teachers, mentors, colleagues, and friends at the University of Michigan. I am forever grateful to my dissertation committee: Jesse Hoffnung-Garskof, Richard Turits, Yeidy Rivero, and Anthony Mora. Jesse, your careful and critical reading of my chapters challenged me to think more critically and to write with more precision and clarity. From very early on, you treated me as a peer and have always helped put things – from preliminary exams and research plans to the ups and downs of the job market – in perspective. Your advice and example has made me a better writer and a better historian, and for that I thank you. Richard, your confidence in my work has been a constant source of encouragement. Thank you for helping me to realize that I had something important to say. Yeidy, your willingness to join my dissertation committee before you even arrived on campus says a great deal about your intellectual generosity. ¡Mil Gracias! Anthony, watching you in the classroom and interact with students offered me an opportunity to see a great teacher in action. -
Lorenzo Varela En Revistas Culturais De México E Bos Aires
LORENZO VARELA EN REVISTAS CULTURAIS DE MÉXICO E BOS AIRES LORENZO VARELA EN REVISTAS CULTURAIS DE MÉXICO E BOS AIRES TALLER, ROMANCE, LETRAS DE MÉXICO, DE MAR A MAR, CORREO LITERARIO, CABALGATA, SUR Coordinadores XOSÉ LÓPEZ GARCÍA E ROSA ANEIROS DÍAZ Recompilación e clasificación de textos e de ilustracións e estudo introdutorio M.ª ANTONIA PÉREZ RODRÍGUEZ CONSELLO DA CULTURA GALEGA S ECCIÓN DE C OMUNICACIÓN LORENZO VARELA, XESÚS Lorenzo Varela en revistas culturais de México e Bos Aires : Taller, Romance, Letras de México, De Mar a Mar, Correo Literario, Cabalgata, Sur / coordinación Xosé López García e Rosa Aneiros Díaz ; recompilación e clasificación de textos e ilustracións e estudo introdutorio, M.ª Antonia Pérez Rodríguez. — Santiago de Compostela : Consello da Cultura Galega, Sección de Comunicación, 2005. — 558 p. : il. ; 23 cm. — (Colección Base) DL C-1077-05. — ISBN 84-95415-03-8 I. López García, Xosé. II. Aneiros Díaz, Rosa. III. Pérez Rodríguez, M.ª Antonia. IV. Consello da Cultura Galega. Sección de Comunicación. IV. Título © CONSELLO DA CULTURA GALEGA Pazo de Raxoi, 2º andar Praza do Obradoiro, s/n 15705 Santiago de Compostela Tel. 981 957202 Fax 981 957205 [email protected] Proxecto gráfico e deseño de cubertas MANUEL JANEIRO ISBN 84-95415-03-8 Depósito legal C-1077-05 Realización Lúdica 7 Á miña filla Sabela ÍNDICE xeral PRESENTACIÓN Alfonso Zulueta de Haz . 11 ESTUDO INTRODUTORIO Lorenzo Varela en revistas culturais de México e Bos Aires: Taller, Romance, Letras de México, De Mar a Mar, Correo Literario, Cabalgata, Sur M.ª Antonia Pérez Rodríguez . 13 ARTIGOS DE LORENZO VARELA Taller . -
The Origin and Development of Cuban Popular Music Genres And
THE ORIGIN AND DEVELOPMENT OF CUBAN POPULAR MUSIC GENRES AND THEIR INCORPORATION INTO ACADEMIC COMPOSITIONS by ALEJANDRO EDUARDOVICH FERREIRA (Under the Direction of Levon Ambartsumian) ABSTRACT In the sixteenth century, Cuba became the host of two very diverse and different cultures. Here, European and African traditions met on a neutral ground where the interchange of rhythms, melodies, and musical forms became inevitable. Over the centuries, this mutual interaction gave birth to genres such as the contradaza, danza, danzón, son, conga, habanera, güajira, criolla, and trova. Despite the fact that these genres were born as dance and popular music, their rhythms and style started to be incorporated into the most refined realm of academic compositions. The purpose of this study is to explain the origin and evolution of the above mentioned genres. Moreover, with the aid of the accompanying recording, I will explain how some Cuban composers participated in the creation and development of these genres. Furthermore, I will show how some other composers where influenced by these genres and the way in which these genres were incorporated in their compositions. INDEX WORDS: Cuban Music, Academic Cuban Compositions, Violin and Piano, Cuban Duo, contradaza, danza, danzón, son, conga, habanera, güajira, criolla, trova THE ORIGIN AND DEVELOPMENT OF CUBAN POPULAR MUSIC GENRES AND THEIR INCORPORATION INTO ACADEMIC COMPOSITIONS by ALEJANDRO EDUARDOVICH FERREIRA MASCARO B.M., Peruvian National Conservatory, Peru 1997 M.M., The University of Southern -
Green Museum – How to Practice What We Preach? 2016 SPNHC Conference
GREEN MUSEUM – How to PRACTICE WHAT WE PREACH? 2016 SPNHC conference 31st Annual Meeting June 20–25, 2016 Berlin, Germany 2nd, revised edition GREEN MUSEUM – How to PRACTICE WHAT WE PREACH? 2016 SPNHC conference Access to research infrastructures SYNTHESYS offers unique research opportunities to scientists from all over Europe. Access is provided to: • European collections comprising more than half of the world’s natural history specimens st • world class libraries 31 Annual Meeting • state-of-the-art facilities including imaging, chemical, and molecular laboratories of the Society for the • support from in-house scientists, including researchers, facilities staff, and collections managers Participation is free of charge and is provided on the basis of scientific excellence of a proposal, Preservation of Natural reviewed by a Selection Panel. Priority is given to new users. A typical project is 1-6 weeks in duration. History Collections The 18 partner institutions offer access via 11 national Taxonomic Access Facilities (TAFs). AT-TAF: Naturhistorisches Museum, Vienna DK-TAF: University of Copenhagen BE-TAF: Royal Belgian Institute of Natural ES-TAF: Museo Nacional de Ciencias Naturales June 20–25, 2016 Sciences, Brussels; Royal Museum for & Real Jardín Botánico, Madrid Central Africa, Tervuren FR-TAF: Muséum National d’Histoire Naturelle, CZ-TAF: Národní Muzeum, Prague Paris Berlin, Germany DE-TAF: Botanischer Garten und Botanisches GB-TAF: Natural History Museum, London; Museum Berlin-Dahlem, Berlin; Royal Botanic Gardens, Kew; Museum -
Sin Título-1
OCT WHAT’S ON 2013 HAVANA ! Praise be to Our Virgen de la Caridad BY Victoria Alcala Just when you think you know Cubans BY Conner Gorry D'DISEGNO. V Festival Leo Havana Guide Respuesta Brouwer de to the Best cubana! Música de Places to eat, Cámara Bars, Clubs Through Sep 24 – Oct 13 & Museums October p 13 p 32 p 49 PRODUCED BY .COM .COM Cuba Absolutely is an independent platform, which seeks to showcase the best in Cuba culture, life-style, sport, travel and much more... we seek to explore Cuba through the eyes of the best writers, photographers and filmmakers, both Cuban and international, who live work, travel and play in Cuba. Beautiful pictures, great videos, opinionated reviews, insightful articles and inside tips. ALL ABOUT CUBA, ALL THE TIME HIGHLIGHTS HAVANA RESTAURANT GUIDE We have reviewed over 150 places to eat in Havana from the coolest new paladar to the old favorites. Check out. The Ultimate Guide to Dining out in Havana. Like us on Facebook for Over 100 videos including Follow us on Twitter for beautiful images, links to interviews with Cuba’s best regular updates of new interesting articles and regular artists, dancers, musicians, content, reviewa, comments updates. writers and directors. and more. OUR CONTRIBUTORS We are deeply indebted and extremely grateful to all of the writers and photograohers who have shared their work with us. We always welcome new contributors and would love hear from you if you have developed a Cuba-related project, idea, photo series or article. You can contact us at [email protected] recommends these Travel Providers for US visitors to Cuba Witness Cuba on routes less traveled. -
A Finding Aid to the Giulio V. Blanc Papers, 1920-1995, in the Archives of American Art
A Finding Aid to the Giulio V. Blanc Papers, 1920-1995, in the Archives of American Art Rosa M. Fernández September 2001 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical Note............................................................................................................. 2 Scope and Content Note................................................................................................. 4 Arrangement..................................................................................................................... 6 Names and Subjects ...................................................................................................... 6 Container Listing ............................................................................................................. 8 Series 1: Biographical Files, 1994-1995, undated................................................... 8 Series 2: Miscellaneous Letters, 1983-1995, undated............................................. 9 Series 3: Artist Files, 1920-1995, undated............................................................. 10 Series 4: Exhibition Files, 1977-1995, undated.................................................... -
CCCNY 2021 Ragtime Program
Donna Coleman pianist – presents Ragtime’s Missing Links: Cuba’s Role in the Evolving Ragtime Tradition a concert-with-commentary created for Cuban Cultural Center of New York ©2021 Donna Coleman all rights reserved program Scott Joplin (1867 near Marshall TX – 1917 New York NY) Maple Leaf Rag (1899) cakewalk rhythm; opening of C phrase = tresillo Manuel Saumell Robredo (1818 Havana – 1870 Havana) Contradanzas (c. 1839–1865?) La Tedezco [translation unclear; possibly a surname] [danzón elements in first eight bars] La Celestina [The Matchmaker] [choriamb in bar 1 and in canon throughout the B phrase] El Somatén [The Alarm] [B phrase = obvious use of cinquillo] La Matilde [Matilda] [B phrase = guajira in bass and in both hands at cadences] La Nené [The Baby] [B phrase = criolla] Dice Que No [He (or She) Says No] A mi amigo L.M. Gottschalk [A phrase = 6/8 in 2 and 3; B phrase – in 3, a distinctive eighth-eighth-quarter-quarter rhythm] Luisiana [Louisiana] A mi amigo L.M. Gottschalk [B phrase cross-rhythms (waltz in bass, duple time in treble)] La Quejosita [Little Miss Complainer] [brilliant exploration of the myriad possibilities in 6/8 time] ¡¡Toma, Tomás!! [Take It, Tomas!] A mi amigo Don Tomás Ruiz Lamentos de Amor [Laments of Love] [habanera; harbinger of Cervantes style expressiveness and expansive use of the piano] Recuerdos de Gottschalk [Memories of Gottschalk] [habanera; B phrase = cakewalk] Ignacio Cervantes Kawanagh (1847 Havana – 1905 Havana) Danzas Cubanas (c. 1875–1895) Adiós a Cuba [Farewell to Cuba] Lejos de Ti! [Far Away from You] Ilusiones Perdidas [Lost Illusions] Tiene Que Ser [It Must Be] Improvisada [Improvised] Gran Señora [The Great Lady] Amistad [Friendship] No Llores Más [Weep No More] 2 Nicolás Ruiz Espadero (1832 Havana – 1890 Havana) Partez Ingrate! [Leave Me, Ungrateful One!] Romance sans paroles, opus 15 (1861) [no syncopated rhythms] [excerpt only for comparison with the other repertory] Tomás Ruiz (1834 Havana – 1888 Havana) La Sultana, contradanza (c. -
TOC 0347 CD Booklet.Indd
JOSÉ COMELLAS AND HIS PIANO MUSIC by José Raúl López Seventy years afer its publication in Mexico, the book Music in Cuba,1 by the Swiss- born Cuban novelist, essayist and musicologist Alejo Carpentier (1904–80), remains the quintessential work on the subject. Carpentier’s vivid and gripping prose narrates the importation of European (and, later, African) musical culture to the prized colony from the early sixteenth century onwards, and its subsequent development and dissemination well beyond its geographical frontiers. As laudatory as Carpentier’s eforts are, they represent a particular historical viewpoint that coincided with the search of the young Cuban Republic for an inclusive national identity and the author’s personal musical aesthetic and social – as well as political – ideology. A fervent admirer of Neo-Classicism – as cultivated by Stravinsky and Les Six – and a confrmed follower of Fernando Ortiz’s Afrocubanismo,2 Carpentier lashes out at the Romanticism still prevalent in Cuban music in the early decades of the last century and at its adherents, the entrenched social and political forces – overwhelmingly of European descent – that opposed the inclusion and equal acceptance of African elements in its myopic concept of national musical culture. Such Romantic fgures as Nicolás Ruíz Espadero (1832–90), Cecilia Arizti (1856–1930), Guillermo Tomás Boufartigue (1868–1933) and Eduardo Sánchez de Fuentes (1874–1944) – all Caucasian – are, at best, tolerated by Carpentier but ultimately dismissed to varying degrees as mere imitators of European musical trends and of insensitivity to the African elements surrounding them. Musical transculturation remains his paramount criterion, regardless of racial or ethnic origin. -
Tocc0544booklet.Pdf
NICOLÁS RUIZ ESPADERO: A CUBAN ALKAN? by José Raúl López The history of ‘art music’ in Cuba begins in the latter part of the eighteenth century with the liturgical legacy of Esteban Salas (1725–1803) during his tenure at the Santiago de Cuba Cathedral, on the eastern part of the island. The existence of documented musical activity, however, dates back to the years succeeding Columbus’ discovery of the island in 1492. Chronicles describing aboriginal chants and areítos1 prove the existence of musical activities, but they did not leave a durable imprint on Cuba’s musical future, because of the rapid extinction of the native population. In the ensuing centuries, Spanish colonisation introduced both sacred and secular elements that co-existed alongside the oral traditions of African slaves imported to the colony from the 1600s onwards.2 The most notable and rapid development of a native Cuban musical culture occurred in the early nineteenth century, and correlates with the bustling economic activity generated by the Spanish monopolisation of the sugar trade in the Caribbean. On the one hand, the enormous wealth created by sugar barons forged the cultivation of cultural endeavour, as one might expect; on the other, it regimented a socio-economic system that eventually culminated in a profound and irreversible political transfiguration by the end of the century. Politically, as a prelude to eventual independence, Cuba underwent a series of transformations, propelled to varying degrees by such events as the British 1 A term describing an aboriginal communal activity that featured singing and dancing. 2 The institution of slavery differed slightly between the British-American system and the Spanish-Portuguese one, where the possibility of self-emancipation existed to a degree. -
I Actas De La Escuela Internacional De Verano De Estudios Latinoamericanos
Asociación de Hispanistas (SERBIA) II AACCTTASAS DEDE LLAA ESCESCUELUELAA INTERNAINTERNACIONALCIONAL DEDE VVERANOERANO DEDE ESESTTUDIOSUDIOS LLAATINOTINOAMERICAMERICANOSANOS Abril de 2018 Belgrado Asociación de Hispanistas (SERBIA) I ACTAS DE LA ESCUELA INTERNACIONAL DE VERANO DE ESTUDIOS LATINOAMERICANOS Abril de 2018 Belgrado Edición: Asociación de Hispanistas de Serbia Comité para la selección de los trabajos: Óscar Barboza Lizano (Fundación Profesor Andrzej Dembicz), Silvia Monros Stojaković (YULATAM), Roman Balmanović (YULATAM) Traductoras: Milica Lilić, Anđela Gašić Lector: Guillermo Menéndez Puente Diseño: Ana Jovanović Trbović ISBN: 978-86-918397-1-0 Es un privilegio tener un amigo y mecenas como Don José Humberto Castro Villalobos. Si no hubiera sido por su fe en nuestro proyecto y su ayuda concreta, no habría nacido la Escuela de Verano de Estudios Latinoamericanos. Le dedicamos precisamente a él estas Actas, porque consideramos que es importante saber que el Sr. Castro Villalobos es nuestro modelo a seguir y la encarnación de todo lo que consideramos que vale en este momento cruel de nuestra historia. Parece que estamos viviendo el final de una época. Personas como él son los que nos dan esperanza y fuerza. Jelena Spasojević, Presidenta de la Asociación de Hispanistas; Coordinadora del proyecto Escuela Internacional de Verano de Estudios Latinoamericanos 18 de marzo de 2018 CONTENIDO Ka uvođenju latinoameričkih studija u formalno obrazovanje u Srbiji: Tijana Čupić 1 Hacia la introducción de los estudios latinoamericanos en la educación formal en Serbia:Tijana Čupić 3 Aportes de la academia internacional de estudios latinoamericanos celebrada del 20 al 24 de julio de 2017 y organizada por la Asociación de Hispanistas de Serbia: Silvia Monros Stojaković 6 Prologando.