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A Comparative Case Study of the Political Economy of Music in Cuba and Argentina by Paul Ruffner Honors Capstone Prof
Music, Money, and the Man: A Comparative Case Study of the Political Economy of Music in Cuba and Argentina By Paul Ruffner Honors Capstone Prof. Clarence Lusane May 4, 2009 Political economy is an interpretive framework which has been applied to many different areas in a wide range of societies. Music, however, is an area which has received remarkably little attention; this is especially surprising given the fact that music from various historical periods contains political messages. An American need only be reminded of songs such as Billy Holliday’s “Strange Fruit” or the general sentiments of the punk movement of the 1970s and 80s to realize that American music is not immune to this phenomenon. Cuba and Argentina are two countries with remarkably different historical experiences and economic structures, yet both have experience with vibrant traditions of music which contains political messages, which will hereafter be referred to as political music. That being said, important differences exist with respect to both the politics and economics of the music industries in the two countries. Whereas Cuban music as a general rule makes commentaries on specific historical events and political situations, its Argentine counterpart is much more metaphorical in its lyrics, and much more rhythmically and structurally influenced by American popular music. These and other differences can largely be explained as resulting from the relations between the community of musicians and the state, more specifically state structure and ideological affiliation in both cases, with the addition of direct state control over the music industry in the Cuban case, whereas the Argentine music industry is dominated largely by multinational concerns in a liberal democratic state. -
Samba, Rumba, Cha-Cha, Salsa, Merengue, Cumbia, Flamenco, Tango, Bolero
SAMBA, RUMBA, CHA-CHA, SALSA, MERENGUE, CUMBIA, FLAMENCO, TANGO, BOLERO PROMOTIONAL MATERIAL DAVID GIARDINA Guitarist / Manager 860.568.1172 [email protected] www.gozaband.com ABOUT GOZA We are pleased to present to you GOZA - an engaging Latin/Latin Jazz musical ensemble comprised of Connecticut’s most seasoned and versatile musicians. GOZA (Spanish for Joy) performs exciting music and dance rhythms from Latin America, Brazil and Spain with guitar, violin, horns, Latin percussion and beautiful, romantic vocals. Goza rhythms include: samba, rumba cha-cha, salsa, cumbia, flamenco, tango, and bolero and num- bers by Jobim, Tito Puente, Gipsy Kings, Buena Vista, Rollins and Dizzy. We also have many originals and arrangements of Beatles, Santana, Stevie Wonder, Van Morrison, Guns & Roses and Rodrigo y Gabriela. Click here for repertoire. Goza has performed multiple times at the Mohegan Sun Wolfden, Hartford Wadsworth Atheneum, Elizabeth Park in West Hartford, River Camelot Cruises, festivals, colleges, libraries and clubs throughout New England. They are listed with many top agencies including James Daniels, Soloman, East West, Landerman, Pyramid, Cutting Edge and have played hundreds of weddings and similar functions. Regular performances in the Hartford area include venues such as: Casona, Chango Rosa, La Tavola Ristorante, Arthur Murray Dance Studio and Elizabeth Park. For more information about GOZA and for our performance schedule, please visit our website at www.gozaband.com or call David Giardina at 860.568-1172. We look forward -
1 La Solidaridad Hacia Cuba Y Vietnam En La Nueva Canción Chilena (1967-1973)
Secuencia (108), septiembre-diciembre, 2020: e1834 doi: https://doi.org/10.18234/secuencia.v0i108.1834 E-ISSN 2395-8464 DOSSIER 1/33 “Como se le habla a un hermano”:1 la solidaridad hacia Cuba y Vietnam en la Nueva Canción Chilena (1967-1973) “As you Speak to a Brother”: Solidarity towards Cuba and Vietnam in the Chilean New Song (1967-1973) Eileen Karmy* https://orcid.org/0000-0003-4174-9694 University of Glasgow, Escocia [email protected] Natália Ayo Schmiedecke** https://orcid.org/0000-0002-6515-5965 Universidad Estatal de Campinas, Brasil [email protected] Resumen: La Nueva Canción Chilena (ncch) contribuyó a expresar la solida- ridad de la izquierda chilena hacia las revoluciones cubana y vietnamita antes 1 Referencia a la canción “A Cuba”, de Víctor Jara, que comentamos al final de la segunda sección del artículo. * Doctora en Musicología por la Universidad de Glasgow, Escocia. ** Doctora en Historia por la Universidad Estatal Paulista “Júlio de Mesquita Filho”, Bra- sil. Posdoctoranda en el Departamento de Historia de la Universidad Estatal de Campinas, Brasil. Becaria de la fapesp (proceso 2018/00325-0). cómo citar: Karmy, E. y Schmiedecke, N. A. (2020). “Como se le habla a un hermano”: la solidaridad hacia Cuba y Vietnam en la Nueva Canción Chilena (1967-1973). Secuencia (108), e1834. doi: https://doi. org/10.18234/secuencia.v0i108.1834 Esta obra está protegida bajo una Licencia Creative Commons Atribución-NoComer- cial 4.0 Internacional. Secuencia (108), septiembre-diciembre, 2020: e1834 doi: https://doi.org/10.18234/secuencia.v0i108.1834 2/33 Karmy, E. y Schmiedecke, N. -
Opening a World of Opportunity for a Lifetime of Communication PRODUCT INDEX
Opening a world of opportunity for a lifetime of communication PRODUCT INDEX Reader Levels 2 SPANISH READERS Brandon Brown Beginner 3 Perfect for Beginning Students! 3 Level 1 and UP 3 Level 2 and UP 7 Level 3 and UP 16 Level 4 and UP 22 FRENCH READERS Brandon Brown Beginner Series 23 Level 1 and UP 23 Level 2 and UP 26 Level 3 and UP 29 GERMAN READERS Level 1 and UP 30 Level 2 and UP 32 Level 3 and UP 33 READERS IN OTHER LANGUAGES Italian, Latin, Mandarin, Russian, Japanese 33 E-Learning Modules 36 TPRS Curricula 38 Teacher Training 41 Fluency Matters Team 42 Learner- and Teacher-Friendly Resources! Robust E-learning Modules Extensive specifically designed to Audiobooks Teacher’s Guides facilitate acquisition. read by native speakers, take the work and worry out enhanced with music and of prepping and planning! sound effects. Comprehensive Glossaries include word meanings for every form of every word. (800) 877- 4738 • FluencyMatters.com LOOK All Fluency Matters Teacher’s Guides are designed to provide teachers with the support ESSENTIAL GUIDES FOR THE they need to effectively use Comprehension-based™ Readers to facilitate acquisition. RED RIBBON Essential Teacher’s Guides contain basic components that help you plan lessons, deepen comprehension, connect to the text and assess reading comprehension. Essential Teacher’s Guides include the following: In Every Chapter PLUS • Vocabulary by chapter • Access to online resource supplement page • Pre-reading discussion questions • Quiz • Follow-up activity LOOK Fluency Matters Expanded Teacher’s Guides include all of the basic components of FOR THE the Essential Guide, plus supplemental resources to make Comprehension-based™ SILVER RIBBON Readers even more effective for facilitating acquisition. -
Pink and Black Fashion Bazaar Media
W W W . P A T A F U N K . C O M / / G R E E N P O I N T R E C O R D S / / P A T A F U N K M U S I C @ G M A I L . C O M ALBUM - HIGH LIFE! 1. SOLO 2. BAILANDO 3. CUYAGUA 4. MARINA 5. OLVIDAR 6. NO PARE SIGUE SIGUE 7. TONIGHT 8. DON’T FORGET ABOUT ME! @PATAFUNK 9. GUANTANAMERA INSTAGRAM | FACEBOOK | Patafunk released “Playa” in 2011 TWITTER | SNAPCHAT | YOUTUBE after moving to Brooklyn, NY to continue chasing his dream of Patafunk is a Venezuelan singer- international stardom. The album was songwriter, producer, DJ and multi- featured in the iTunes “New and instrumentalist. In 2008, Patafunk Noteworthy” section, while the song released his well-received debut “NegraChinaLatina” reached #1 in album “Dubdelic”, an eclectic Venezuelan radio and was featured in arrangement of music that merges MTV Latin America. Patafunk has held Latin, pop, and disco-funk. Four songs residencies at NYC staples such as off the album topped the charts in Soho House, Le Bain, Schimanski Venezuelan radio; the song (previously Verboten), and Hotel “Surferston ft. G2” peaked at #2 on Hugo; while his global sound has the Venezuelan billboard chart, enlivened audiences at shows and “Record Report”, with Rolling Stone festivals around the world, including: Latin America calling it one of the best SXSW, Tribeca Film Festival, CMJ, and albums of the year for its distinctively Miami Art Basel. Patafunk’s latest pleasant, “ocean-like sound”. creation, the album “High Life!”, is a • SINGER Between 2008-2010, while working on testament to his incredible range and • SONGWRITER his sophomore album “Playa”, genius as an artist. -
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 -
Andean Music, the Left and Pan-Americanism: the Early History
Andean Music, the Left, and Pan-Latin Americanism: The Early History1 Fernando Rios (University of Illinois, Urbana-Champaign) In late 1967, future Nueva Canción (“New Song”) superstars Quilapayún debuted in Paris amid news of Che Guevara’s capture in Bolivia. The ensemble arrived in France with little fanfare. Quilapayún was not well-known at this time in Europe or even back home in Chile, but nonetheless the ensemble enjoyed a favorable reception in the French capital. Remembering their Paris debut, Quilapayún member Carrasco Pirard noted that “Latin American folklore was already well-known among French [university] students” by 1967 and that “our synthesis of kena and revolution had much success among our French friends who shared our political aspirations, wore beards, admired the Cuban Revolution and plotted against international capitalism” (Carrasco Pirard 1988: 124-125, my emphases). Six years later, General Augusto Pinochet’s bloody military coup marked the beginning of Quilapayún’s fifteen-year European exile along with that of fellow Nueva Canción exponents Inti-Illimani. With a pan-Latin Americanist repertory that prominently featured Andean genres and instruments, Quilapayún and Inti-Illimani were ever-present headliners at Leftist and anti-imperialist solidarity events worldwide throughout the 1970s and 1980s. Consequently both Chilean ensembles played an important role in the transnational diffusion of Andean folkloric music and contributed to its widespread association with Leftist politics. But, as Carrasco Pirard’s comment suggests, Andean folkloric music was popular in Europe before Pinochet’s coup exiled Quilapayún and Inti-Illimani in 1973, and by this time Andean music was already associated with the Left in the Old World. -
Spanish Videos Use the Find Function to Search This List
Spanish Videos Use the Find function to search this list Velázquez: The Nobleman of Painting 60 minutes, English. A compelling study of the Spanish artist and his relationship with King Philip IV, a patron of the arts who served as Velazquez’ sponsor. LLC Library – Call Number: SP 070 CALL NO. SP 070 Aguirre, The Wrath of God Director: Werner Herzog with Klaus Kinski. 1972, 94 minutes, German with English subtitles. A band of Spanish conquistadors travels into the Amazon jungle searching for the legendary city of El Dorado, but their leader’s obsessions soon turn to madness. LLC Library CALL NO. Look in German All About My Mother Director: Pedro Almodovar with Cecilia Roth, Penélope Cruz, Marisa Perdes, Candela Peña, Antonia San Juan. 1999, 102 minutes, Spanish with English subtitles. Pedro Almodovar delivers his finest film yet, a poignant masterpiece of unconditional love, survival and redemption. Manuela is the perfect mother. A hard-working nurse, she’s built a comfortable life for herself and her teenage son, an aspiring writer. But when tragedy strikes and her beloved only child is killed in a car accident, her world crumbles. The heartbroken woman learns her son’s final wish was to know of his father – the man she abandoned when she was pregnant 18 years earlier. Returning to Barcelona in search on him, Manuela overcomes her grief and becomes caregiver to a colorful extended family; a pregnant nun, a transvestite prostitute and two troubled actresses. With riveting performances, unforgettable characters and creative plot twists, this touching screwball melodrama is ‘an absolute stunner. -
Paredon Records Collection Finding Aid
Ralph Rinzler Folklife Archives and Collections Center for Folklife and Cultural Heritage, Smithsonian Institution Paredon Records Collection Finding Aid Collection Summary Prepared by Benjamin Z. Brown, 2006, and Stephanie A. Massaro, 2008; authority terms compiled by Jeff Place, Stephanie Smith, and Stephanie A. Massaro, 2008. Collection Creators: Barbara Dane and Irwin Silber Title: Paredon Records Collection Abstract: 50 Paredon records; 1 carton of 54 folders containing contracts, original photos, historical notes, transcript of oral history interview with Barbara Dane, and business records for the Paredon catalogue. Date span: 1969 – 2007. Provenance The Smithsonian Ralph Rinzler Folklife Archives and Collections acquired the Paredon Records Collection in December, 1991, when Barbara Dane and Irwin Silber donated their record company papers to the Center for Folklife and Cultural Heritage. The Center for Folklife and Cultural Heritage agreed to keep the record titles available for purchase, and to accession and store the Paredon Records Collection in the archives. Restrictions Restrictions may apply concerning the use, duplication, or publication of items in the Paredon Collection. Please consult the archivists if you have additional questions about the Paredon materials and their use. Scope and Content Note There are two main components of the Paredon Collection: the records themselves and the paper files relating to these recordings. This finding aid is a guide to the paper files of the Paredon Records Collection and related materials. These files contain more general information that does not pertain to one recording in particular. The contents include artist contracts, recording reports, various notes on records produced, photographs of artists, news articles both about and by Barbara Dane, Irwin Silber, and Paredon Records, correspondence by Barbara Dane, Irwin Silber and Paredon Records, and other miscellany. -
Music of Cuba & the Caribbean
Music of Cuba & the Caribbean A Smithsonian Folkways Lesson Designed by: Roberta L. Stafford Pennsbury School District Summary: Students will learn and perform the songs “Guantanamera,” and “Caribbean Carnival” with improvisation. Listening, analyzing and comparing traditional songs from Cuba and the Caribbean will allow students a window into the culture of these countries. Suggested Grade Levels: 3-5 Country: Cuba Region: Caribbean Culture Group: Cuban, Caribbean Genre: Cuban Son Instruments: Voice, Band Language: Spanish Co-Curricular Areas: Social Studies, Spanish National Standards: 2, 3, 5, 6, 7, 8 Prerequisites: Students are receiving weekly group instruction (band lessons). Objectives: Listen to recordings of “Guantanamera” and “Soneros Son” Locate Cuba on a world map Rehearse Concert Band arrangements of “Guantanamera” and “Caribbean Carnival” in weekly Band rehearsals Materials: Smithsonian Folkways, “Guantanamera” by Grupo Moncada from Grupo Moncada Recorded Live in Boston (CAT. #MON00798) http://www.folkways.si.edu/grupo-moncada/recorded-live-in-boston/latin- world/music/album/smithsonian Smithsonian Folkways, “Soneros Son” by Estudiantina Invasora from Music of Cuba (CAT. #FW04064) http://www.folkways.si.edu/music-of-cuba/caribbean-latin- world/album/smithsonian Concert Band Arrangement of “Guantanamera,” arranged by Victor Lopez, Alfred Publishing/Belwin Division. Level: Very Easy. Lesson Segments: 1. Guantanamera (National Standards 2, 3, 5, 6, 7, 8) 2. Music of the Caribbean (National Standards 2, 5, 6, 7, 8) 1. Guantanamera Prerequisite: Students are receiving weekly group instruction (band lessons) Objectives: o Listen to a recording of “Guantanamera” o Discuss the lyrics of “Guantanamera” o Locate Cuba on a world map o Rehearse a Concert Band arrangement of “Guantanamera” in weekly band rehearsals o Improvise over the rhythmic riff in the concert band arrangement of “Guantanamera.” Materials: o Smithsonian Folkways, “Guantanamera” by Grupo Moncada from Grupo Moncada Recorded Live in Boston (CAT. -
Noviembre 2015 CULTURA BLUES. LA REVISTA ELECTRÓNICA Página | 1
Número 54 - Noviembre 2015 CULTURA BLUES. LA REVISTA ELECTRÓNICA Página | 1 Contenido Directorio Cultura Blues. La Revista Electrónica PORTADA La Blues Band 2015 (1 y 2) ………….…………………..……..... 1 “Un concepto distinto del blues y algo más…” CONTENIDO - DIRECTORIO ..……………………………………..…….. 2 www.culturablues.com EDITORIAL La historia se construye día a día … (3) ……………....…. 3 Número 54 – noviembre de 2015 Derechos Reservados 04 – 2013 – 042911362800 – 203 HUELLA AZUL Entrevista a La Blues Band (4 y 5) ………..……….….. 4 Registro ante INDAUTOR CULTURA BLUES DE VISITA Teatro-Bar “El Vicio” Coyoacán con La Blues Band (2 y 3) .................................................. 11 Director general y editor: José Luis García Fernández DE COLECCIÓN La Blues Band – Keith Richards (3) ..…………..…. 16 Subdirector general: CULTURA BLUES DE VISITA Centro Cultural de España José Luis García Vázquez en México con Guadalupe Plata (3) .................................................. 22 DE LOS ARCHIVOS DE KOSMOBLUE El efecto Jimi Programación y diseño: Hendrix… en el jazz y Session players (6) ......................................…. 25 Aida Castillo Arroyo BLUES EN EL REINO UNIDO Consejo Editorial: Capítulo X: Long John Baldry (7) ...................................................... 33 María Luisa Méndez Flores Mario Martínez Valdez BLUES A LA CARTA El maestro de la telecaster: Albert Collins (3) .…………………………………………………………………..……. 35 Colaboradores en este número: SESIONES DESDE LA CABINA Síncopa Blues. Seis años de jazz y blues nacional (8) ..………………..... 39 1. José Luis García Vázquez 2. Rafael Arriaga Zazueta ESPECIAL DE MEDIANOCHE 3. José Luis García Fernández Algunos de nuestros mejores covers (9) …………….…………………………. 41 4. María Luisa Méndez Flores CORTANDO RÁBANOS Carcacha y se te retacha (10) ........... 46 5. Fernando Monroy Estrada 6. Raúl Aznar LOS VERSOS DE NORMA ¡Porque me da la gana! (11) .…..… 48 7. -
LATIN SONGS 1 Ordered by TITLE SONG NO TITLE ARTIST 6412 - 05 100 Anos Maluma Feat
LATIN SONGS 1 Ordered by TITLE SONG NO TITLE ARTIST 6412 - 05 100 Anos Maluma Feat. Carlos Rivera 6331 - 04 11 PM Maluma 6292 - 10 1-2-3 El Simbolo 6314 - 11 24 de Diciembre Gabriel, Juan 6301 - 11 40 y 20 Jose Jose 6306 - 16 A Dios Le Pido Juanes 4997 - 18 A Esa Pimpinela 6310 - 20 A Gritos De Esperanza Ubago, Alex 6312 - 16 A Pierna Suelta Aguilar, Pepe 6316 - 09 A Puro Dolor Son By Four 5745 - 07 A Tu Recuerdo Los Angeles Negros 6309 - 01 Abrazame Fernandez, Alejandro 6314 - 12 Abrazame Muy Fuerte Gabriel, Juan 6310 - 18 Abusadora Vargas, Wilfrido 6317 - 08 Adios Martin, Ricky 6316 - 18 Adios Amor Sheila 6313 - 20 Adrenalina Wisin Feat. Jennifer Lopez & Ricky Martin 4997 - 11 Afuera Caifanes 6299 - 07 Ahora Que Estuviste Lejos Priscila 6299 - 11 Ahora Que Soy Libre Torres, Manuela 6311 - 16 Ahora Que Te Vas La 5a Estacion 6308 - 03 Ahora Quien (Salsa) Anthony, Marc 6304 - 06 Algo De Ti Rubio, Paulina 6297 - 07 Algo Esta Cambiando Venegas, Julieta 6308 - 08 Algo Tienes Rubio, Paulina 5757 - 04 Amame Martinez, Rogelio 6382 - 04 Amarillo Balvin, J 6305 - 04 Amiga Mia Sanz, Alejandro 6318 - 17 Amigos Con Derechos Maluma & Reik 6293 - 02 Amor A La Mexicana Thalia 5749 - 01 Amor Eterno Gabriel, Juan 5748 - 01 Amor Prohibido Selena 5756 - 01 Amor Se Paga con Amor Lopez, Jennifer 6312 - 01 Amor Secreto Fonsi, Luis 6304 - 08 Amor Sincero Fanny Lu 6297 - 02 Andar Conmigo Venegas, Julieta 6317 - 02 Andas En Mi Cabeza Chino & Nacho 6302 - 12 Angel De Amor Mana 6313 - 12 Aparentemente Vega, Tony 5753 - 02 Aprendiste a Volar Fernandez, Vicente 5751