Mi Currículum
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
African Diaspora and Colombian Popular Music in the Twentieth Century1
African Diaspora and Colombian Popular Music in the Twentieth Century1 Peter Wade In this paper I argue that the concept of disapora is problematic insofar as it implies a process of traffic outwards from an origin point (usually seen as geographical, cultural and/or “racial”). This origin is often seen as being a key to the definition of diaspora—without it, the concept descends into generalized incoherence (Brubaker 2005). I want to argue for the continued usefulness of a concept of diaspora, in which the “origin” is understood as a space of imagination (which is not to say that it is imaginary, although it may also be that) and in which the connections between the “outlying” points of the diaspora are as important, or more so, than the connections between the outliers and the origin. Analytically speaking, diaspora has to be distanced from simple concerns with uni-directional outward dispersals from a single origin point (which may also carry certain masculinist connotations). Specifically, I think the concept of diaspora points at a kind of cultural continuity but one where “cultural continuity appears as the mode of cultural change” (Sahlins 1993, 19). For theorists such as Hall and Gilroy, diaspora serves as an antidote to what Gilroy calls “camp thinking” and its associated essentialism: diasporic identities are “creolized, syncretized, hybridized and chronically impure 1. This paper was first given in abbreviated form as part of the Center for Black Music Research’s Conference on Black Music Research, Chicago, February 14–17, 2008, in the ses- sion “Black Diaspora Musical Formations: Identification, History, and Historiography.” I am grateful to the CBMR for the invitation to participate in the conference. -
PICK of the WEEK Incredible Interpretation of the Classic “En Mi Viejo San Juan” to Well
. CASH BOX OCTOBERS, 1994 20 REVIEWS By Hector Resendez EDSEL JULIET W/ ORCHESTRA - ;s^ y.S. ^ Latin IDSEL JULIETf , SWTM ORCHSSt«A SAUUCO ^ SALJUCO: Salsa & Merengue (JCD 050) Producer: Edsel Juliet. I By Hector Resendez Edsel Juliet is from a prominent and musi- THE QUEEN OF SALSA, Celia t cal family in Curacao where he played there j Crtiz, was honored on Sunday, Sep- t as a samll boy. He came to Holland in his late I tember 25th, by the Student Assodation for the Appreciation of Latin teens about 1976. Juhet takes you from son Culture and the Arts at Cal Polytechnic University in Pomona, CA. Cruz montuno, to mambo, to a pambiche curacao, presented with an inaugural medal named in her honor. Actor Andy SALSA & was Y MAS* LOS and back. All of the selections are well exe- Garda was on hand to present Cruz with the gold medallion. cuted and performed. Of particular interest the Azucar featured comparsa The day-long festivities at Camaval will be the son montunos which may have even dancing by Los Bailerines del Club de Monterey Park accompanied by made the Cuban group, Los Papines, stand up and notice. The introduction by Long John Oliva and his congeros. There was an impressive lineup of local Dr. Salsa (Ira Goldwasser) is out of this world. There is over an hour of music Southern Californian talent. Of particular note was fellow Cubana Candi on the CD. Although based in Amsterdam, Juhet wdl have no problem in Sosa’s beautiful musical medley of Cruz’ most popular .hits. -
La Música Champeta: Un Movimiento De Resistencia Cultural Afrodescendiente a Través Del Cuerpo
Daimon. Revista Internacional de Filosofía, Suplemento 5 (2016), 651-658 ISSN: 1130-0507 (papel) y 1989-4651 (electrónico) http://dx.doi.org/10.6018/daimon/270971 La Música Champeta: un movimiento de resistencia cultural afrodescendiente a través del cuerpo Champeta music: a movement of African descendant cultural resistance through the body EDINSON CUETO QUINTERO* Resumen: La música Champeta, cuyo epicen- Abstract: Champeta music, whose epicenter is tro es la ciudad Cartagena de Indias, reforzó la India’s Cartagena city, strengthened the identity identidad afrodescendiente de los palenqueros, of black African-descendant, affected the “sound repercutió en la “comunidad sonora” constituida community” integrated by the Caribbean´s por los pueblos del Caribe y permeó la identidad peoples and permeated the national identity. nacional. Actualmente, antropólogos y sociólogos Nowadays, anthropologists and sociologists reconocen en ella referencias histórico-sociales recognize inside its social and historical africanas. Su baile constituye un ritual de resis- African references. Its dance is a ritual of tencia socio-cultural que se ha convertido en un socio-cultural resistance that has become in a fenómeno cultural que tiene espacio en la radio y cultural phenomenon that has space in radio and televisión. Sin embargo, en sus inicios fue recha- television. Nevertheless, at the beginning it was zada y tuvo que ser difundida por los picós, que rejected, and had to be spread by the picós with con alto volumen incitaban a los afros al baile high volume incited to the afro´s people to daring atrevido que les recordaba sus orígenes africanos. dance that reminded they their African origins. -
Music and Spiritual Feminism: Religious Concepts and Aesthetics
Music and spiritual feminism: Religious concepts and aesthe� cs in recent musical proposals by women ar� sts. MERCEDES LISKA PhD in Social Sciences at University of Buenos Aires. Researcher at CONICET (National Council of Scientifi c and Technical Research). Also works at Gino Germani´s Institute (UBA) and teaches at the Communication Sciences Volume 38 Graduation Program at UBA, and at the Manuel de Falla Conservatory as well. issue 1 / 2019 Email: [email protected] ORCID: https://orcid.org/0000-0001-9692-6446 Contracampo e-ISSN 2238-2577 Niterói (RJ), 38 (1) abr/2019-jul/2019 Contracampo – Brazilian Journal of Communication is a quarterly publication of the Graduate Programme in Communication Studies (PPGCOM) at Fluminense Federal University (UFF). It aims to contribute to critical refl ection within the fi eld of Media Studies, being a space for dissemination of research and scientifi c thought. TO REFERENCE THIS ARTICLE, PLEASE USE THE FOLLOWING CITATION: Liska, M. (2019). Music and spiritual feminism. Religious concepts and aesthetics in recent musical proposals by women artists. Contracampo – Brazilian Journal of Communication, 38 (1). Submitted on: 03/11/2019 / Accepted on: 04/23/2019 DOI – http://dx.doi.org/10.22409/contracampo.v38i1.28214 Abstract The spiritual feminism appears in the proposal of diverse women artists of Latin American popular music created recently. References linked to personal and social growth and well-being, to energy balance and the ancestral feminine powers, that are manifested in the poetic and thematic language of songs, in the visual, audiovisual and performative composition of the recitals. A set of multi religious representations present in diff erent musical aesthetics contribute to visualize female powers silenced by the patriarchal system. -
Debate Overnight Radio Play for Sale to Labels
$6.99 (U.S.), S8.99 (CAN.), £5.50 (U.K.), 8.95 (EUROPE), Y2,500 (JAPAN) w Hot.' á 3 -DIGIT 908 z ILI..i6..J..IiIII...L..LoIEIO I IIL.I[I BL240f04 APR06 A04 B0105 ¡aient MONTY GREENLY 3740 ELM AVE # A LONG EEACH CA 93807 -3402 J31i1 Begins On Page 15 www.billboard.com THE INTERN TIONAL AUTHORITY ON MUSIC, VIDE AND DIGITAL ENTERTAINMENT 110TH YEAR JUNE 19, 2004 HOT SPOTS Spin Buys Spark New Debate Overnight Radio Play For Sale To Labels Latin S BY BRIAN GARRITY 11 Bank On Lt ar Anthony 50 Cent protégé Lloyd Banks Offers ans His First Controversy surrounding burns up the charts with "On overnight airplay at radio is Fire, "the lead single from his Spanis Pop Album nothing new for the G- Unit /Interscope solo set. recording industry. But the BY LEILA COB' current flap over tracks played late at night in label -sponsored fí It is tim of c-ìange for Marc "spin programs" presents a new Anthony. twist on past grievances. Just a few years ago, labels were Last year h: changed management complaining bitterly that radio by signing wi Tommy Mottola after programmers were relegating l6 a longstandi g association with new singles to the overnight Bigram Zayas Anthony's brother. hours. Now many labels are Last -nont , he changed his tour shelling out thousands of dollars dates. Origin Hy slated to kick off in per week to have songs played between midnight and 6 a.m. June, the o ing has been resched- 32 Waylon Gains As first tipped on billboard.biz uled for Nov: mbeG Waylon Payne promotes his and in Billboard sister publica- Last week, e reportedly married Jen- tion Airplay Monitor's June 11 upcoming album, "The Drifter," nifer Lopez. -
Laís Galo Vanzella
UNIVERSIDADE DE SÃO PAULO - USP FACULDADE DE FILOSOFIA CIÊNCIAS E LETRAS DE RIBEIRÃO PRETO DEPARTAMENTO DE PSICOLOGIA Laís Galo Vanzella A memória individual e coletiva colombiana na performance de um gênero musical – o vallenato Ribeirão Preto 2018 LAÍS GALO VANZELLA A memória individual e coletiva colombiana na performance de um gênero musical – o vallenato Dissertação apresentada à Faculdade de Filosofia, Ciências e Letras de Ribeirão Preto da Universidade de São Paulo para obter o título de Mestre em Ciências Área: Psicologia: Processos Culturais e Subjetivação. Orientadora: Profa. Dra. Francirosy Campos Barbosa Ribeirão Preto 2018 Autorizo a reprodução e divulgação total ou parcial deste trabalho, por qualquer meio convencional ou eletrônico, para fins de estudo e pesquisa, desde que citada a fonte. Vanzella, Laís Galo A memória individual e coletiva colombiana na performance de um gênero musical – o vallenato. Ribeirão Preto, 2018. 229 p. : il. ; 30 cm Dissertação de Mestrado, apresentada à Faculdade de Psicologia de Ribeirão Preto/USP. Área de concentração: Processos Culturais e Subjetivação Orientador: Barbosa, Francirosy Campos. 1. Vallenato. 2. Memória Coletiva. 3. Carlos Vives. 4. Colômbia. 5. Música Nome: Laís Galo Vanzella Título: A memória individual e coletiva colombiana na performance de um gênero musical- o vallenato Dissertação apresentada à Faculdade de Filosofia Ciências e Letras de Ribeirão Preto da Universidade de São Paulo para obter o título de Mestre em Ciências Banca Examinadora Aprovado em: Profa. Dra. Instituição: Julgamento: Prof. Dr. Instituição: Julgamento: Prof. Dr. Instituição: Julgamento: AGRADECIMENTOS Agradeço aos meus amigos colombianos: Diana, por ser tão presente e carinhosa, os dias na sua casa em Bogotá (2009) foram uns dos melhores da minha vida. -
CVP-709/CVP-705 Data List
CVP-709 CVP-705 Data List Daten-Liste Liste des données Lista de datos Lista de dados Piano Types in the Piano Room............................................... 2 Chord Types Recognized in the Fingered Mode.................... 49 Klaviermodelle im Piano Room Im Fingered-Modus erkannte Akkordarten Types de piano dans Piano Room Types d’accords reconnus en mode Fingered Tipos de pianos de Piano Room Tipos de acordes reconocidos en el modo Fingered (digitado) Tipos de piano do Piano Room Tipos de acorde reconhecidos no modo dedilhado Accompaniment Types in the Piano Room .............................. 3 Effect Type List....................................................................... 50 Begleitungsarten im Piano Room Liste der Effekttypen Types d’accompagnements dans Piano Room Liste des types d’effet Tipos de acompañamientos de Piano Room Lista de tipos de efecto Tipos de acompanhamento do Piano Room Lista de tipos de efeito Voice List ................................................................................. 4 Vocal Harmony Type List ....................................................... 59 Voice-Liste Liste der Vocal-Harmony-Typen Liste des sonorités Liste des types d'harmonies vocales Lista de voces Lista de tipos de armonías vocales Lista de vozes Lista de tipos de harmonia vocal Mega Voice Map.................................................................... 30 Vocal Effect Type List............................................................. 60 Sound-Zuordnungen der Mega Voices Liste der Gesangseffekt-Typen Carte -
Belwin 2007–2008 Jazz Ensemble
Belwin 2007–2008 JAZZ ENSEMBLE Performance Music Play-Alongs Jazz Theory Supplemental Jazz Resources JAZZ a division of Alfred alfred.com DEAR JAZZ ENSEMBLE DIRECTOR, Enclosed are the Belwin Jazz Ensemble new releases for 2007–2008! As a division of Alfred, Belwin Jazz provides you with first-class quality music and a variety of jazz products. Our performance music includes jazz charts from the most basic level to the hottest and most advanced concert / festival charts and everything in between. A variety of styles are featured, including swing, Latin, ballad, pop, rock, funk, contemporary, and traditional; all you need at every level. Belwin Jazz Ensemble music is conveniently grouped into NINE OUTSTANDING SERIES: JAZZ BEGINNINGS SERIES • Very Easy (Yellow) FIRST YEAR CHARTS FOR JAZZ ENSEMBLE SERIES • Easy (Red) YOUNG JAZZ ENSEMBLE SERIES • Easy to Medium Easy (Green) JAZZ BAND SERIES • Medium (Blue) JAZZ VOCAL SERIES: JAZZ ENSEMBLE with VOCAL FEATURE: Medium (Orange) PREMIER JAZZ SERIES: Medium Advanced to Advanced (Purple) GORDON GOODWIN SERIES: Advanced (Teal) JAZZ EXPRESSIONS SERIES with optional string parts, with corresponding difficulty level cover color JAZZ FOR YOUNG PEOPLE™ SERIES correlated to the Jazz For Young People™ curriculum, with corresponding { difficulty level cover color In addition to our new Jazz Ensemble music, this booklet includes details about outstanding supplemental materials, books and play-alongs for jazz studies, along with a list of solo features, festival highlights, holiday music and much more for every jazz program. Belwin Jazz provides you with an unbeatable mix of outstanding writing skills, staff, and exceptional catalogs. Combine that with our excellent support and the backing of a family-owned music company managed by musicians for more than 80 years, and you get the best jazz music money can buy. -
Asab Proyecto Curricular De Artes Musicales Aportes
UNIVERSIDAD FRANCISCO JOSÉ DE CALDAS FACULTAD DE ARTES – ASAB PROYECTO CURRICULAR DE ARTES MUSICALES APORTES INTERPRETATIVOS Y CREATIVOS A LA BATERÍA EN EL ROCK COLOMBIANO DE CARLOS CORTÉS Y GREGORIO MERCHÁN. CAMILO ANDRÉS ORTEGÓN MUNEVAR CÓD.: 20132098059 ÉNFASIS: INSTRUMENTO MODALIDAD DE TRABAJO DE GRADO: MONOGRAFÍA BOGOTÁ, D.C. ABRIL DE 2018 UNIVERSIDAD FRANCISCO JOSÉ DE CALDAS FACULTAD DE ARTES – ASAB PROYECTO CURRICULAR DE ARTES MUSICALES APORTES INTERPRETATIVOS Y CREATIVOS A LA BATERÍA EN EL ROCK COLOMBIANO DE CARLOS CORTÉS Y GREGORIO MERCHÁN. CAMILO ANDRÉS ORTEGÓN MUNEVAR CÓD.: 20132098059 ÉNFASIS: INSTRUMENTO TUTOR: GERMÁN ANDRÉS HERRERA MODALIDAD DE TRABAJO DE GRADO: MONOGRAFÍA BOGOTÁ, D.C. ABRIL DE 2018 ¿Hay alguien alrededor que pueda explicarle a Dios? ¿Alguien lo suficientemente inteligente como para decirle qué hacer? ¿Cualquiera que le haya hecho un favor tan grande que Dios tiene que pedirle su consejo? Porque de Él, y por Él, y para Él, son todas las cosas. [Porque todas las cosas se originan con Él y vienen de Él; todas las cosas viven a través de Él, y todas las cosas se centran y tienden a consumarse y terminar en Él.] ¡A Él sea la gloria para siempre! Amén (que así sea). Romanos 11:34-36 Dedicado a mi Señor y Salvador, mi Buen Pastor, Jesucristo. AGRADECIMIENTOS Sé muy bien que en una página no alcanzaría a agradecer a todas las personas que han edificado mi vida musical con su amor, paciencia y talento y que aportaron a la construcción de este proyecto. Aun así, humildemente trataré de hacerlo. A Aquel que vivió, murió, resucitó y pronto volverá por mí. -
Fiesta De Picó: Champeta, Espacio Y Cuerpo En Cartagena, Colombia
FIESTA DE PICÓ: CHAMPETA, ESPACIO Y CUERPO EN CARTAGENA, COLOMBIA MARÍA ALEJANDRA SANZ GIRALDO Monografía de Grado para optar por el título de Antropóloga Director: Mauricio Pardo Bogotá D.C. Escuela de Ciencias humanas Universidad del Rosario 2011 1 CONTENIDO Agradecimientos……………………………………………………………………………4 Introducción...………………………………………………...……………………………5 Capítulo I: Cartagena champetúa .......................................................................................................... 24 Música, espacio y lugar .......................................................................................................... 27 El sur-oriente .......................................................................................................................... 34 El Cerro de la Popa ................................................................................................................. 41 Bazurto ................................................................................................................................... 45 Sabor champetúo .................................................................................................................... 50 El Runner ................................................................................................................................ 52 Organizadores, Dueños, DJs, .................................................................................................. 55 Manga .................................................................................................................................... -
Rumba Rhythms, Salsa Sound
MUSIC MILESTONES AMERICAN MS, RUMBA RHYTH ND BOSSA NOVA, A THE SALSA SOUND MATT DOEDEN This Page Left Blank Intentionally MUSIC MILESTONES AMERICAN MS, RUMBA RHYTH ND BOSSA NOVA, A HE SALSA SOUND T MATT DOEDEN TWENTY-FIRST CENTURY BOOKS MINNEAPOLIS NOTE TO READERS: some songs and music videos by artists discussed in this book contain language and images that readers may consider offensive. Copyright © 2013 by Lerner Publishing Group, Inc. All rights reserved. International copyright secured. 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 written permission of Lerner Publishing Group, Inc., except for the inclusion of brief quotations in an acknowledged review. Twenty-First Century Books A division of Lerner Publishing Group, Inc. 241 First Avenue North Minneapolis, MN 55401 U.S.A. Website address: www.lernerbooks.com Library of Congress Cataloging-in-Publication Data Doeden, Matt. American Latin music : rumba rhythms, bossa nova, and the salsa sound / by Matt Doeden. p. cm. — (American music milestones) Includes bibliographical references and index. ISBN 978–0–7613–4505–3 (lib. bdg. : alk. paper) 1. Popular music—United States—Latin American influences. 2. Dance music—Latin America—History and criticism. 3. Music— Latin America—History and criticism. 4. Musicians—Latin America. 5. Salsa (Music)—History and criticism. I. Title. ML3477.D64 2013 781.64089’68073—dc23 2012002074 Manufactured in the United States of America 1 – CG – 7/15/12 Building the Latin Sound www 5 Latin Fusions www 21 Sensations www 33 www The Latin Explosion 43 Glossary w 56 Source Notes w 61 Timeline w 57 Selected Bibliography w 61 Mini Bios w 58 Further Reading, w Websites, Latin Must-Haves 59 and Films w 62 w Major Awards 60 Index w 63 BUILDING THE Pitbull L E F T, Rodrigo y Gabriela R IG H T, and Shakira FAR RIGHT are some of the big gest names in modern Latin music. -
La Champeta En El Caribe En Colombia. Valores En Circulación De Un Fenómeno Musical Polifacético
LA CHAMPETA EN EL CARIBE EN COLOMBIA. VALORES EN CIRCULACIÓN DE UN FENÓMENO MUSICAL POLIFACÉTICO Mauricio Pardo Rojas89 Universidad de Caldas [email protected] DOI: http://dx.doi.org/10.15665/re.v15i3.1102 RESUMEN La circulación musical en el picó-champeta va más allá de la circulación de canciones, es la circulación de la fiesta de picó, dinamizada por las fanaticadas y cuyo combustible es la constante renovación de la exclusividad. Más que “representar” o expresar, especificidades sociales, en la dinámica del picó-champeta circulan relaciones sociales condensadas tanto en el evento festivo del picó champeta, como en las diferentes dinámicas de lugar y de reproducción de las piezas musicales. Este es un circuito casi totalmente local y regional que se efectúa mayormente por fuera de los canales corporativos de las industrias musicales. En el picó champeta se da un proceso recíproco de circulación de valores de uso y de valores de cambio. Buena parte de la producción y circulación de este fenómeno ocurre a través de las tecnologías digitales de edición musical y adquisición y difusión de contenidos e información en el internet, facilitando aún más el control de la empresa-picó sobre todo el proceso de producción y circulación, pero paradójicamente al mismo tiempo manteniéndolo restringido dentro de un estrecho circuito económico determinado por unos límites sociales de clase social y étnico raciales y espaciales de región y de lugar. ABSTRACT The musical circulation in the picó-champeta goes beyond the circulation of songs; it is the circulation of the party of picó, energized by the fandom and whose fuel is the constant renewal of the exclusivity.