Juan De Marcos González
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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 -
Malpaso Dance Company Is Filled with Information and Ideas That Support the Performance and the Study Unit You Will Create with Your Teaching Artist
The Joyce Dance Education Program Resource and Reference Guide Photo by Laura Diffenderfer The Joyce’s School & Family Programs are supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council; and made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. Special support has been provided by Con Edison, The Walt Disney Company, A.L. and Jennie L. Luria Foundation, and May and Samuel Rudin Family Foundation, Inc. December 10, 2018 Dear Teachers, The resource and reference material in this guide for Malpaso Dance Company is filled with information and ideas that support the performance and the study unit you will create with your teaching artist. For this performance, Malpaso will present Ohad Naharin’s Tabla Rasa in its entirety. Tabula Rasa made its world premiere on the Pittsburgh Ballet Theatre on February 6, 1986. Thirty-two years after that first performance, on May 4, 2018, this seminal work premiered on Malpaso Dance Company in Cuba. Check out the link here for the mini-documentary on Ohad Naharin’s travels to Havana to work with Malpaso. This link can also be found in the Resources section of this study guide. A new work by company member Beatriz Garcia Diaz will also be on the program, set to music by the Italian composer Ezio Bosso. The title of this work is the Spanish word Ser, which translates to “being” in English. I love this quote by Kathleen Smith from NOW Magazine Toronto: "As the theatre begins to vibrate with accumulated energy, you get the feeling that they could dance just about any genre with jaw-dropping style. -
Groove in Cuban Dance Music: an Analysis of Son and Salsa Thesis
Open Research Online The Open University’s repository of research publications and other research outputs Groove in Cuban Dance Music: An Analysis of Son and Salsa Thesis How to cite: Poole, Adrian Ian (2013). Groove in Cuban Dance Music: An Analysis of Son and Salsa. PhD thesis The Open University. For guidance on citations see FAQs. c 2013 The Author https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.21954/ou.ro.0000ef02 Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk \ 1f'1f r ' \ I \' '. \ Groove in Cuban Dance Music: An Analysis of Son and Salsa Adrian Ian Poole esc MA Department of Music The Open University Submitted for examination towards the award of Doctor of Philosophy on 3 September 2012 Dntc \.?~ ,Sllbm.~'·\\(~·' I ~-'-(F~\:ln'lbCt i( I) D Qt C 0'1 f\;V·J 0 1('\: 7 M (~) 2 013 f1I~ w -;:~ ~ - 4 JUN 2013 ~ Q.. (:. The Library \ 7<{)0. en ~e'1l poo DONATION CO)"l.SlALt CAhon C()F) Iiiiii , III Groove in Cuban Dance Music: An Analysis of Son and Salsa Abstract The rhythmic feel or 'groove' of Cuban dance music is typically characterised by a dynamic rhythmic energy, drive and sense of forward motion that, for those attuned, has the ability to produce heightened emotional responses and evoke engagement and participation through physical movement and dance. -
RMAL Folkloric Recommendations
RMAL Folkloric Recommendations From the Usenet Newsgroup rec.music.afro-latin comes this list of recommended folkloric CD's (with an occasional cassette or LP). It is confined to Afro-Puerto Rican and Afro-Cuban "roots" music that is predominantly percussive/vocal; so it does not include the equally rich folkloric genre called son. Toward the end is a list of music and instruction videos and book/CD's. For those of you who are new to this genre, categories PUERTO RICO and CUBA have an asterisk * by those CDs which we think should be among your first buys. Our thanks for their generous help to Jorge Ginorio, Stan Ginn, Mike "Yambu" Doran, Zeno Okeanos and "Califa". Please note that for a few of these, the label and/or release date information is unknown. These are marked with (?). If you happen to know this information, please send me appropriate comments. PUERTO RICO Canario y su Grupo Plenas (Ansonia HGCD 1232) (?) Anthony Carrillo Mis Races (DRS Musical Productions DRMP2) 1997 Encuentro de Bomba y Plena al Acetato (MCB9203CD) 1992 - Modesto Cepeda *Races de Bomba y Plena (MCB9504CD) 1995 - Legado de Bomba y Plena (MCB9705CD) 1997 *William Cepeda & Bombazo (Blue Jackel BJAC 5027-2) 1998 Grupo Afro-Boricua Rafael Cepeda El Roble Mayor (Balele Records 010) 1996 Cortijo y Kako Ritmos y Cantos Callejeros (Ansonia CD 1477) 1970 Dr.Emanuel Dufrasne Puerto Rico Tambien Tiene Tamb - Book Copyright by Author, Gonzalez 1994 *Paracumbe Tamb (Ashe CD 2005) 1997 Somos Boricuas,Bomba y Plena en N.Y. (Henry Street 0003) Los Pleneros de la 21 1996 Los -
Understanding the Tonada Cordobesa from an Acoustic
UNDERSTANDING THE TONADA CORDOBESA FROM AN ACOUSTIC, PERCEPTUAL AND SOCIOLINGUISTIC PERSPECTIVE by María Laura Lenardón B.A., TESOL, Universidad Nacional de Río Cuarto, 2000 M.A., Spanish Translation, Kent State University, 2003 M.A., Hispanic Linguistics, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of the Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2017 UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by María Laura Lenardón It was defended on April 21, 2017 and approved by Dr. Shelome Gooden, Associate Professor of Linguistics, University of Pittsburgh Dr. Susana de los Heros, Professor of Hispanic Studies, University of Rhode Island Dr. Matthew Kanwit, Assistant Professor of Linguistics, University of Pittsburgh Dissertation Advisor: Dr. Scott F. Kiesling, Professor of Linguistics, University of Pittsburgh ii Copyright © by María Laura Lenardón 2017 iii UNDERSTANDING THE TONADA CORDOBESA FROM AN ACOUSTIC, PERCEPTUAL AND SOCIOLINGUISTIC PERSPECTIVE María Laura Lenardón, PhD University of Pittsburgh, 2017 The goal of this dissertation is to gain a better understanding of a non-standard form of pretonic vowel lengthening or the tonada cordobesa, in Cordobese Spanish, an understudied dialect in Argentina. This phenomenon is analyzed in two different but complementary studies and perspectives, each of which contributes to a better understanding of the sociolinguistic factors that constrain its variation, as well as the social meanings of this feature in Argentina. Study 1 investigates whether position in the intonational phrase (IP), vowel concordance, and social class and gender condition pretonic vowel lengthening from informal conversations with native speakers (n=20). -
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. -
HAVANA HOP Fulfills the Following Ohio and Atw Victoria Theatre Association
2015-2016 Resource Guide Written, Choreographed, and Performed by Paige Hernandez APRIL 27, 2016 9:30 & 11:30 A.M. • VICTORIA THEATRE The Frank M. FOUNDATION www.victoriatheatre.com Curriculum Connections You will find these icons listed in the resource guide next to the activities that indicate curricular elcome to the 2015-2016 Frank connections. Teachers and parents are encouraged to adapt all of the activities included in an M. Tait Foundation Discovery Series appropriate way for your students’ age and abilities. HAVANA HOP fulfills the following Ohio and atW Victoria Theatre Association. We are very National Education State Standards and Benchmarks for grades 2-8: excited to be your partner in providing English/Language Arts Standards Ohio Department of Education professional arts experiences to you and Grade 2- CCSS.ELA-Literacy.RL.2.2, CCSS.ELA-Literacy. your students! Drama/Theatre & Dance Standards RL.2.3, CCSS.ELA-Literacy.RL2.4, CCSS.ELA-Literacy. Drama/Theatre Standards RL2.5, CCSS.ELA-Literacy.RL2.6 I am excited for students in Dayton to Grade 2- 1CE-7CE, 1PR-3PR, 1RE-6RE Grade 3- CCSS.ELA-Literacy.RL.3.2, CCSS.ELA-Literacy. experience HAVANA HOP! Ms. Hernandez Grade 3- 1CE-5CE, 1PR-6PR, 1RE-5RE RL.3.3, CCSS.ELA-Literacy.RL.3.5, CCSS.ELA-Literacy. is a multifaceted artist, who is known Grade 4- 1CE-6CE, 1PR-7PR, 1RE-5RE RL.3.6 for her innovative fusion of poetry, hip Grade 5- 1CE-5CE, 1PR-5PR, 1RE-5RE Grade 4- CCSS.ELA-Literacy.RL.4.2, CCSS.ELA-Literacy. -
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. -
American Folklife
1989 Festival of American Folklife Smithsonian Institution/National Park Service Thierry^ Benrand, maker ot" a iviize. a ii>>\\ laic 1 icnch bagpipe, in his workshop in La Garnache, a village in the Vendee region of France. (Photo by Winifred Lambrecht) On the front cover: Vallisa Vinhasa Tavares represents the island of Kaua'i in the Merrie Monarch parade in Hilo, Hawai'i. (Photo by Lynn Martin, courtesy State Foundation on Culture and the Arts Folk Arts Program) On the hack cover. Una Griffiths and Cacilda Wright, traditional cooks from Santa Caiz, Jamaica, squeeze juice from grated cassava. (Photo by Heliana Portes de Roux) 1989 Festival of American Folklife June 23-27 June 30-July 4 Smithsonian Institution National Park Service We dedicate this year's program book to the nienioiy ofJoseph Condon (1943-1988). Joe was a special assista>it to the Secretary' and a friend of the Festival for many years. Joe tanght ns a lot ahont leadership, integrity and honesty. As ivejdce both successes and crises, we will painfully miss him. Contents Celebrating Freedom by Robert McC. Adams, Secretary, Smithsonian Institution 4 Our Shared Cultural Resources by James M. Ridenour, Director, National Park Service 6 Why We Do the Festival by Richard Kurin 8 American Indian Problems of Access and Cultural Continuity by Thomas Vennum, Jr. 22 Hawai'i: Cosmopolitan Culture at the Crossroads of the Pacific by Richard Kennedy with Lynn Martin 36 French Traditions: Their History and Continuity in North America by Winnie Lambrecht 50 Creolization in the Caribbean by Heliana Portes de Roux 66 Festival of American Folklife ©1989 by the Smithsonian Institution Editor: Frank Proschan Coordinator: Arlene Liebenau Designer: ]oix\ Wolbier Assistant Designer Becky Lepkowski Special thanks: Linda Breitag, Andras Goldinger, Nicholas Spitzer Typesetter: Harlowe Typography Printer: Ameriprint Typeface: ITC Garamond Paper: Warren Patina Insert: Simpson Sundance Felt — Celebrating Freedom Robert McC. -
The Americas
REVIEWS The Americas Banda Black Rio require a bit of extra persuasion that they lyrics about tango’s passing, the anti- all its tumble-down, tourist-strewn glory, it SuperNovaSambaFunk need to own more than a single album by gloomy plinky-plonky piano at the front, sees the London-based Dickinson working Far Out either group. To meet this challenge, and a few deep-voiced exhortations to send alongside percussionist Hammadi Full Price (68 mins) record companies and management are us on our way. Where to is usually the Rencurrell, a fellow graduate of Havana’s HHH constantly seeking to set their assets in a same place, but the sure hand of the Superior Institute of Art who, like Brazil’s brightest and best team different musical context, in an attempt – a Mañana label owner and Gotan Project Dickinson, was awarded first-class up for a funky Rio rejoinder far too brazenly desperate attempt, guitarist Eduardo Makaroff means this honours, and the talented British-Spanish Over a decade that’s sometimes – to broaden their appeal. This latest collection of 13 tracks is more violinist Emma Blanco. The focus here is seen all kinds of has led to LBM recording both a classical polished and more considered than other on the music of the hallowed, still prolific obscure and often album and a horrid dance remix collection. recent Cáceres ventures. Opening with a Cuban guitarist, composer and professor fantastic Brazilian In the case of the Blind Boys, it has resulted Charleston isn’t as surprising as it might be. Eduardo Martin, whose compositions funk prised from the in duets with Lou Reed and reggae singer Juan Carlos Cáceres is a deracinated ex-pat explore the links between a host of Cuban archives, the band Toots Hibbert, a collection of Christmas pianist and he finds a home wherever his musical genres: rumba, danzon, bolero, that first carried the black Rio sound carols and a contemporary rock album vocal range fits.