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CUBAN CHARANGA: CLASS, POPULAR MUSIC AND THE CREATION OF NATIONAL IDENTITY By RUTH M. “SUNNI” WITMER A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2011 1 © 2011 Ruth M. “Sunni” Witmer 2 For my parents, E. Earl and Dora M. Witmer y mis abuelos, Manuel y María Margarita García 3 ACKNOWLEDGMENTS There are very few successes in life that are accomplished without the help of others. I would have never achieved what I have without the kind encouragement, collaboration, and support from the following individuals. I would first like to express my gratitude to my Ph.D. committee, Larry Crook, Kristen Stoner, Welson Tremura, and Charles Perrone for their years of steadfast support and guidance. I would also like to thank Martha Ellen Davis, Cristóbel Díaz Ayala, and Robin Moore for their additional contributions to my academic development. It has been an honor to have been mentored by such superb scholars and musicians. What I have learned about becoming a musician, a scholar, and friend, I have learned from all of you. In addition, I would like to thank the following scholars for their efforts in assisting me with my research: Richard Phillips and Paul Losch from the University of Florida’s Latin American Collection, Robena Cornwell and Michelle Wilbanks from the University of Florida’s Music Library, Lesbia Orta Varona from the University of Miami’s Cuban Heritage Collection, and Veronica González from Florida International University’s Cristóbal Diáz Ayala Collection. Assistance in digitizing recordings and collaboration in transcribing was provided by Rollins College students Peter MacColeman and Theodore Henderson. Peter digitally remastered three recordings in this dissertation from 78rpm original recordings and Theodore’s tremendous skills and assistance in transcribing and music editing made the deeper level of detail in the musical transcriptions possible. My research benefited greatly from my collaborations with these scholars. My colleagues in Cuba were also invaluable to my research. In addition to the numerous individuals who gave of their time and talents to assist me, it was Cuban 4 music scholars Martha Esquinazi Pérez and Enrique Zayas Bringas who at all times sought to teach me as much as they could about Cuban music. They took me into their homes, they became my dear friends, and I consider them part of my family. I would also like to thank Cuban charanga flute player, Rene Lorente and his wife Rosamaría Lorente, for all they have done to teach me about the charanga tradition. They have been tireless in answering my questions and have allowed me to learn about charanga from one of its greatest flute masters. Often, the most difficult aspects of fieldwork and archival research are just having a place to rest one’s head and finding a good meal to eat. While I worked in Miami, Marcela De Faria Casaubon and Joaquin Casaubon graciously allowed me to stay in their home and Marcela’s parents, João and Aurea De Faria, made sure we had plenty of good Brazilian food to eat. I am very grateful for their generosity and hospitality. I especially would like to thank all my dear friends who never let me lose sight of my goal. They made me laugh, held my hand, gave me hugs, and always let me know they were there for me. In particular, I would like to thank Laura Robertson and George Trucano for their many years of treasured friendship. Above all, I give thanks every day for my friendship with Kristen and Dan Stoner. Their thoughtfulness, charity, and love have been the trusted rock upon which I have stood all these years. My most sincere appreciation goes to my family for their unwavering trust, their constant support, and their love. I am blessed to have such a close and loving family and I am eternally grateful to have all of them in my life. And to Nicholé, I give my deepest love and gratitude. 5 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 4 LIST OF TABLES ............................................................................................................ 8 LIST OF FIGURES .......................................................................................................... 9 LIST OF OBJECTS ....................................................................................................... 16 LIST OF ABBREVIATIONS ........................................................................................... 17 ABSTRACT ................................................................................................................... 18 CHAPTER 1 INTRODUCTION .................................................................................................... 20 Statement of Purpose ............................................................................................. 20 Theoretical Framework ........................................................................................... 28 Methodology ........................................................................................................... 46 Literature Review .................................................................................................... 51 2 THE HISTORICAL DEVELOPMENT OF THE CHARANGA ENSEMBLE .............. 72 Etymological Origins of the Terms ‘Cuban Charanga’ and ‘Charanga francesa’ .... 72 Cuban charanga ............................................................................................... 77 Charanga francesa ........................................................................................... 84 Historical Organology of Charanga Ensembles ...................................................... 89 The Five-key, Wooden Charanga Flute ................................................................ 104 3 THE CHARANGA REPERTORY OF POPULAR MUSIC ...................................... 111 Contradanza ......................................................................................................... 119 Danza ................................................................................................................... 140 Danzón ................................................................................................................. 144 Danzonete ............................................................................................................ 161 Mambo .................................................................................................................. 170 Chachachá ............................................................................................................ 183 Tira Tira ................................................................................................................ 200 4 PERFORMANCE PRACTICES OF CHARANGA POPULAR MUSIC ................... 215 5 CONCLUSIONS: THE ROLE OF POPULAR MUSIC AND CLASS IN THE CONSTRUCTION OF CUBAN NATIONAL IDENTITY ......................................... 281 6 APPENDIX A DISCOGRAPHY ................................................................................................... 293 B FIVE-KEY FLUTE FINGERING CHART ............................................................... 296 C INTERVIEWS AND CORRESPONDENCES ........................................................ 304 D MUSICAL TRANSCRIPTIONS ............................................................................. 306 LIST OF REFERENCES ............................................................................................. 419 BIOGRAPHICAL SKETCH .......................................................................................... 431 7 LIST OF TABLES Table page 2-1 The instrumental evolution of the charanga ensemble: 16th-21st centuries ......... 73 2-2 The instrumental evolution of the charanga ensemble: 18th century................... 73 2-3 The instrumental evolution of the charanga ensemble: 19th century................... 73 2-4 The instrumental evolution of the charanga ensemble: 19th-20th centuries ......... 74 2-5 The instrumental evolution of the charanga ensemble: 20th-21st centuries ......... 74 3-1 Contradanza musical genre: time period, ensembles, and instrumentation ..... 116 3-2 Danza musical genre: time period, ensembles, and instrumentation ................ 116 3-3 Danzón musical genre: time period, ensembles, and instrumentation .............. 117 3-4 Danzonete musical genre: time period, ensembles, and instrumentation ......... 117 3-5 Mambo musical genre: time period, ensembles, and instrumentation .............. 117 3-6 Chachachá musical genre: time period, ensembles, and instrumentation ........ 118 3-7 Tira Tira musical genre: time period, ensembles, and instrumentation ............. 118 8 LIST OF FIGURES Figure page 2-1 Juan de Dios Alfonso Armenteros ...................................................................... 74 2-2 1869 photograph of the orquesta típica, Orquesta Flor de Cuba ........................ 75 2-3 Enrique Peña Sánchez ....................................................................................... 75 2-4 La Orquesta Típica de Enrique Peña Sánchez................................................... 76 2-5 The 1858 logo illustration for La Charanga ......................................................... 79 2-6 A bastonero (baton holder) ................................................................................. 80 2-7 The 1859 logo illustration for La