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The Singer As Priestess
-, ' 11Ie Singer as Priestess: Interviews with Celina Gonzatez and Merceditas Valdes ".:" - , «1',..... .... .. (La Habana, 1993) Ivor Miller Celina Gonzalez: Queen of the Punto Cubano rummer Ivan Ayala) grew up in New York City listening to the music of Celina Gonzalez. * As Da child in the 1960s he was brought to Puerto Rican espiritista ceremonies, where instead of using drums, practitioners would play Celina's records to invoke the spirits. This is one way that Celina's music and the dedication of her followers have blasted through the U.S. embargo against Cuba that has deprived us of some of the planet's most potent music, art and literature for over 32 years. Ivan's experi ence shows the ingenuity of working people in maintaining human connections that are essential to them, in spite of governments that would keep them separate. Hailed as musical royalty in Colombia, Venezuela, Mexico, England and in Latin USA, Celina has, until very recently, been kept out of the U.S. n:tarket.2 Cuba has long been a mecca for African-derived religious and musical traditions, and Celina's music taps a deep source. It is at the same time popular and sacred, danceable and political. By using the ancient Spanish dicima song form to sing about the Yoruba deities (orichas), she has become a symbol of Cuban creole (criollo) traditions. A pantheon of orichas are worshipped in the Santeria religion, which is used by practitioners to protect humans from sickness and death, and to open the way for peace, stability, and success. During the 14 month period that I spent in Cuba from 1991-1994, I had often heard Celina's music on the radio, TV, and even at a concert/rally for the Young Communist League (UJC), where the chorus of "Long live Chango'" ("iQueviva Chango!") was chanted by thou Celina Gonzalez (r) and [dania Diaz (l) injront o/Celina's Santa sands of socialist Cuba's "New Men" at the Plaza of the Revolution.3 Celina is a major figure in Cuban music and cultural identity. -
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 -
Paquito D' Rivera
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. PAQUITO D’RIVERA NEA Jazz Master (2005) Interviewee: Paquito D’ Rivera (June 4, 1948 - ) Interviewer: Willard Jenkins with recording engineer Ken Kimery Date: June 11, 2010 and June 12, 2010 Repository: Archives Center, National Museum of American History Description: Transcript, 68 pp. Willard: Please give us your full given name. Paquito: I was born Francisco Jesus Rivera Feguerez, but years later I changed to Paquito D’Rivera. Willard: Where did Paquito come from? Paquito: Paquito is the little for Francisco in Latin America. Tito, or Paquito Paco, it is a little word for Francisco. My father’s name was Francisco also, but, his little one was Tito, like Tito Puente. Willard: And what is your date of birth? Paquito: I was born June 4, 1948, in Havana, Cuba. Willard: What neighborhood in Havana were you born in? Paquito: I was born and raised very close, 10 blocks from the Tropicana Cabaret. The wonderful Tropicana Night-Club. So, the neighborhood was called Marinao. It was in the outskirts of Havana, one of the largest neighborhoods in Havana. As I said before, very close to Tropicana. My father used to import and distribute instruments and accessories of music. For additional information contact the Archives Center at 202.633.3270 or [email protected] Page | 1 Willard: And what were your parents’ names? Paquito: My father’s name was Paquito Francisco, and my mother was Maura Figuerez. Willard: Where are your parents from? Paquito: My mother is from the Riento Province, the city of Santiago de Cuba. -
Samples Can Be Auditioned At
No pianist has played on more records that all of postrevolutionary Cuba sang along with than Pupy. And at the same time, he's a direct link to that golden age of Arsenio and Chappotín. Ned Sublette author of Cuba and Its Music: From the First Drums to the Mambo El modo de interpretar de Pupy Pedroso constituye el crossover entre la música bailable contemporanea cubana y los esquemas tradicionales heredados de los grandes pianistas soneros de los cincuentas, en particular, de su padre, Nené, quien fuera una de las luminarias de la época. Su estilo inovador, su talento para componer y orquestar y su sagacidad para lograr la preferencia pública en un país tan competitivo como Cuba, lo situan en uno de los lugares mas destacados del ambiente musical de los últimos cuarenta anos. Definitivamente Pupy, junto a José Luis “Changuito” Quintana y Juan Formell, forma parte del nucleo generador del sonido Van Van, que por tanto tiempo ha satisfecho las exigencias de los “casineros” mas puristas. Juan de Marcos composer, tresero, leader of The Afro‐Cuban All‐Stars Pupy, es poseedor de un estilo peculiar a la hora de tocar el piano, tumbaos de gran fuerza cargados de un estilo sonero indiscutible hacen de Pupy uno de los pianistas de Son mas importantes de los últimos años.” Adalberto Álvarez pianist, composer, founder of Son 14 and Adalberto Álvarez y su Son Indiscutiblemente César, Pupy, Pedroso es uno de los grandes pianistas de la música cubana de todos los tiempos. Su nombre puede ocupar un merecido lugar junto al de Luis ‘Lilí’ Martínez Griñán o Antonio María Romeu, pues al igual que ellos hicieron anteriormente, él también transformó la sonoridad del piano dentro de las proyecciones estéticas por donde cursaba la más auténtica cubanía. -
Cachao Y Su Ritmo Caliente Cuban Jam Sessions in Miniature "Descargas" Mp3, Flac, Wma
Cachao Y Su Ritmo Caliente Cuban Jam Sessions In Miniature "Descargas" mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Latin Album: Cuban Jam Sessions In Miniature "Descargas" Country: US Released: 1961 Style: Son Montuno, Descarga, Latin Jazz, Rumba, Cha- Cha, Salsa MP3 version RAR size: 1852 mb FLAC version RAR size: 1987 mb WMA version RAR size: 1767 mb Rating: 4.8 Votes: 416 Other Formats: MPC DXD XM MP3 VQF VOX MIDI Tracklist Hide Credits Trombon Criollo A1 3:06 Trombone – "Tojo" Jimenez*Written-By – Gerardo Fortillo* Controversia De Metales A2 3:11 Trombone – Tojo*Trumpet – Vivar*Written-By – Israel Lopez* Estudio En Trompeta A3 2:17 Congas [Tumbadora] – Tata GüinesTrumpet – Vivar*Written-By – Israel Lopez* Guajeo De Saxos A4 2:19 Tenor Saxophone – Emilio Peñalver*Written-By – Emilio Penalver Oye Mi Tres Montuno A5 2:39 Tres [Solo] – Niño RiveraWritten-By – A. Echevarria* Malanga Amarilla A6 3:17 Piano – Orestes LopezWritten-By – Silvia Contreras* Cogele El Golpe B1 2:39 Written-By – A. Castillo Jr.* Pamparana B2 2:34 Written-By – Alfredo Leon* Descarga Cubana B3 3:01 Soloist [Double Bass] – CachaoSoloist [Drums] – Barreto* Goza Mi Trompeta B4 2:55 Trumpet – Vivar* A Gozar Timpero B5 2:57 Trumpet – Vivar* Sorpresa De Flauta B6 2:51 Flute – Richard Egues* Companies, etc. Record Company – Panart Recording Corp. Made By – Panart Recording Corp. Credits Bongos – Rogelio "Yeyo" Iglesias* Congas [Tumbadora Drum] – Tata Güines Drums – Guillermo Barreto Guiro – Gustavo Tamayo Leader, Double Bass [String Bass] – Israel Lopez "Cachao"* Liner Notes [English] – Sorrentino Liner Notes [Spanish] – Andres Castillo Jr. Trumpet – "El Negro" Vivar* Written-By – O. -
Proquest Dissertations
ISRAEL LOPEZ "CACHAO": The Godfather of Cuban Bass The History and Development of the Bass in Cuban Popular Music WILLIS MICHAEL JARVIS A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO, CANADA MAY 2011 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 OttawaONK1A0N4 Canada Canada Your file Votre r&terence ISBN: 978-0-494-80661-6 Our file Notre r6f4rence ISBN: 978-0-494-80661-6 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Introducing Leonardo Acosta, Music and Literary Critic
Vol. 5, No. 3, Spring 2008, 95-121 www.ncsu.edu/project/acontracorriente Introducing Leonardo Acosta, Music and Literary Critic Raúl A. Fernández University of California—Irvine Daniel Whitesell Irvine Valley College The recent awards bestowed on Leonardo Acosta, in particular Cuba’s Premio Nacional de Literatura (2006), come as no surprise to the authors of this article who have long been aware of the breadth and depth of Acosta’s essays on music and literature. To many, however, Acosta’s writing career has remained largely invisible. In part this is because Acosta’s major essays began to appear in the early 1980s when he was nearly fifty years old, a time by which most professional writers have established their careers; in part, because he had labored rather independently of any official Cuban institutions. As Acosta noted in his acceptance speech for the Premio Nacional de Literatura he had not been identified as “associated with any literary ‘group,’ or ‘revista,’ or ‘generation,’ or ‘cohort’. Neither had [he] participated in any aesthetic or ideological polemic affecting arts and letters…” His ‘invisibility” may also be in part because his writing has consisted primarily of ensayos, a genre Fernández 96 that attracts less attention from literary critics than poetry or prose narrative. Another contributing factor has been the diversity of the intellectual field Acosta defined for himself—he began as a professional musician, became a journalist, poet and short story writer for a decade, and then became a writer on music and literature. This career trajectory makes it difficult for any other single author to evaluate Acosta’s work as a whole. -
Siento Una Flauta: Improvisational Idiom, Style, and Performance Practice of Charanga Flutists in New York from 1960 to 2000
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2015 Siento una Flauta: Improvisational Idiom, Style, and Performance Practice of Charanga Flutists in New York from 1960 to 2000 Jessica Lynne Valiente Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1170 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Siento una Flauta: Improvisational Idiom, Style, and Performance Practice of Charanga Flutists in New York from 1960 to 2000 by Jessica Valiente A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2015 © 2015 JESSICA VALIENTE All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Music to satisfy the dissertation Requirement for the degree of Doctor of Musical Arts Benjamin Lapidus Date Chair of Examining Committee Norman Carey Date Executive Officer Stephen Blum Peter Manuel Danilo Lozano Supervisory Committee THE CITY UNIVERSITY OF NEW YOR iii Abstract SIENTO UNA FLAUTA: IMPROVISATIONAL IDIOM, STYLE, AND PERFORMANCE PRACTICE OF CHARANGA FLUTISTS IN NEW YORK FROM 1960 TO 2000 Advisor: Professor Stephen Blum The charanga, the Cuban dance music ensemble consisting of flute, strings, piano, bass, timbales, congas, and güiro, and vocals, underwent five decades of evolution in Cuba, beginning in the early 20th century. -
Redalyc."Somos Cubanos!"
Trans. Revista Transcultural de Música E-ISSN: 1697-0101 [email protected] Sociedad de Etnomusicología España Froelicher, Patrick "Somos Cubanos!" - timba cubana and the construction of national identity in Cuban popular music Trans. Revista Transcultural de Música, núm. 9, diciembre, 2005, p. 0 Sociedad de Etnomusicología Barcelona, España Available in: http://www.redalyc.org/articulo.oa?id=82200903 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Somos Cubanos! Revista Transcultural de Música Transcultural Music Review #9 (2005) ISSN:1697-0101 “Somos Cubanos!“ – timba cubana and the construction of national identity in Cuban popular music Patrick Froelicher Abstract The complex processes that led to the emergence of salsa as an expression of a “Latin” identity for Spanish-speaking people in New York City constitute the background before which the Cuban timba discourse has to be seen. Timba, I argue, is the consequent continuation of the Cuban “anti-salsa-discourse” from the 1980s, which regarded salsa basically as a commercial label for Cuban music played by non-Cuban musicians. I interpret timba as an attempt by Cuban musicians to distinguish themselves from the international Salsa scene. This distinction is aspired by regular references to the contemporary changes in Cuban society after the collapse of the Soviet Union. Thus, the timba is a “child” of the socialist Cuban music landscape as well as a product of the rapidly changing Cuban society of the 1990s. -
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 -
An Ethnomusicological Study of the Policies and Aspirations for US
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2014 Beyond the Blockade: An Ethnomusicological Study of the Policies and Aspirations for U.S.-Cuban Musical Interaction Timothy P. Storhoff Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC BEYOND THE BLOCKADE: AN ETHNOMUSICOLOGICAL STUDY OF THE POLICIES AND ASPIRATIONS FOR U.S.-CUBAN MUSICAL INTERACTION By TIMOTHY P. STORHOFF A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2014 Timothy Storhoff defended this dissertation on April 2, 2014. The members of the supervisory committee were: Frank Gunderson Professor Directing Dissertation José Gomáriz University Representative Michael B. Bakan Committee Member Denise Von Glahn Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii To Mom and Dad, for always encouraging me to write and perform. iii ACKNOWLEDGMENTS This dissertation was made possible through the support, assistance and encouragement of numerous individuals. I am particularly grateful to my advisor, Frank Gunderson, and my dissertation committee members, Michael Bakan, Denise Von Glahn and José Gomáriz. Along with the rest of the FSU Musicology faculty, they have helped me refine my ideas and ask the right questions while exemplifying the qualities required of outstanding educators and scholars. From the beginning of my coursework through the completion of my dissertation, I could not have asked for a finer community of colleagues, musicians and scholars than the musicologists at the Florida State University. -
Cachao, El Súper Danzonero
Cachao, el súper danzonero Por RAUL FERNANDEZ* Entre esos locos por la música cubana que hay regados por todo el mundo existen acuerdos y desacuerdos sobre quiénes han sido las más importantes figuras de la música popular cubana en el siglo veinte. Pero uno de los puntos de concordancia general se refiere a un músico que visitará pronto el Festival de Jazz de Barranquilla, uno de nuestros verdaderos gigantes: Israel López, 'Cachao'. Sobre Cachao podríamos escribir un Esta es la foto que salió en la portada del Lp Panart libro entero; de hecho ya existen numerosos 2092; Cachao en el bajo, Gustavo Tamayo en el güiro, artículos e incluso un extenso documental sobre El Negro Vivar en la trompeta, Yeyo Iglesias, bongó; su vida y obra. Aquí nos limitaremos a destacar Guillermo en la batería, y Tata Güines en la tumbadora. dos de sus grandes contribuciones al desarrollo de la música cubana y caribeña. Para los 'tembas' relativamente jóvenes -de más de sesenta y menos de ochenta- Cachao es reconocido como el hombre de las descargas. En 1957 este personaje reunió algunos de los más eminentes músicos de La Habana para grabar las memorables Descargas en Miniatura (también llamadas Cuban Jam Sessions in Miniature). Aunque los comentaristas a menudo se refieren a las sesiones de 1957 como la mezcla realizada por Cachao del jazz con la música cubana, nada está más lejos de la realidad; el mismo Cachao ha dejado establecido que él no tenía en mente el jazz cuando se ensamblaron las sesiones. Con mayor seguridad, se puede decir que por primera vez la música cubana más candelosa se tocaba de una manera menos diseñada para la danza -aunque es posible bailar algunas de la piezas-, que para ser escuchada.