The Nueva Trova: Frank Delgado and Survival of a Critical Voice Lauren E
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Beyond Salsa Bass the Cuban Timba Revolution
BEYOND SALSA BASS THE CUBAN TIMBA REVOLUTION VOLUME 1 • FOR BEGINNERS FROM CHANGÜÍ TO SON MONTUNO KEVIN MOORE audio and video companion products: www.beyondsalsa.info cover photo: Jiovanni Cofiño’s bass – 2013 – photo by Tom Ehrlich REVISION 1.0 ©2013 BY KEVIN MOORE SANTA CRUZ, CA ALL RIGHTS RESERVED No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopy, recording or otherwise, without written permission of the author. ISBN‐10: 1482729369 ISBN‐13/EAN‐13: 978‐148279368 H www.beyondsalsa.info H H www.timba.com/users/7H H [email protected] 2 Table of Contents Introduction to the Beyond Salsa Bass Series...................................................................................... 11 Corresponding Bass Tumbaos for Beyond Salsa Piano .................................................................... 12 Introduction to Volume 1..................................................................................................................... 13 What is a bass tumbao? ................................................................................................................... 13 Sidebar: Tumbao Length .................................................................................................................... 1 Difficulty Levels ................................................................................................................................ 14 Fingering.......................................................................................................................................... -
El Corazón De Cuba Educational Program Curriculum
International Bicycle Fund 4887 Columbia Drive South, Seattle WA 98108-1919 USA +1-206-767-0848 ~ [email protected] ~ www.ibike.org A non-governmental, nonprofit organization promoting bicycle transport, economic development and understanding worldwide. El Corazon de Cuba Educational Program Curriculum Small group, multidiscipline, educational program. The objective of the program is to strengthen your knowledge to better enable you to participate in important public policy discussion on a wide range of topics that affect your life. The program provides and opportunities to comparing and contrasting the work environment, quality of life, social programs, political structure and policies, economic policy and structure, environment, and culture that you are familiar with, to those of Cuba. Day-to-day, on an ongoing basis throughout the program there will be opportunities to meet people, small group discussion with Cubans and excursions and presentations on history, architecture, culture, ethnic diversity, social systems, gender rights and roles, politics, agriculture, mining, industry, fisheries, music, language, religion, geology, botany, and ecology. The following curriculum fails to include literally hundreds of serendipitous people-to-people encounters when we purposefully visit small towns and villages to by snacks and refreshment to talk to people, and ask questions and strike up conversations. Ironically, some of the most meaningful and enlightening people-to-people contacts are the hardest, and virtually impossible, to document. Day 1: “Anatomy of the capital of the Capital: Introducing information on the history and change of Havana, and specifically Vedado ”: architecture (residential and commercial), use patterns (park boulevard, parks, residential and commercial), public institutions (schools, hospitals (8, including cardio and oncology)), religious institutions (churches, convents and two synagogue), monuments and statues (John Lennon, socialist world leaders, military, politician, intellectuals, Jose Marti) and transportation. -
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. -
RED HOT + CUBA FRI, NOV 30, 2012 BAM Howard Gilman Opera House
RED HOT + CUBA FRI, NOV 30, 2012 BAM Howard Gilman Opera House Music Direction by Andres Levin and CuCu Diamantes Produced by BAM Co-Produced with Paul Heck/ The Red Hot Organization & Andres Levin/Music Has No Enemies Study Guide Written by Nicole Kempskie Red Hot + Cuba BAM PETER JAY SHARP BUILDING 30 LAFAYETTE AVE. BROOKLYN, NY 11217 Photo courtesy of the artist Table Of Contents Dear Educator Your Visit to BAM Welcome to the study guide for the live The BAM program includes: this study Page 3 The Music music performance of Red Hot + Cuba guide, a CD with music from the artists, that you and your students will be at- a pre-performance workshop in your Page 4 The Artists tending as part of BAM Education’s Live classroom led by a BAM teaching Page 6 The History Performance Series. Red Hot + Cuba is artist, and the performance on Friday, Page 8 Curriculum Connections an all-star tribute to the music of Cuba, November 30, 2012. birthplace of some of the world’s most infectious sounds—from son to rumba and mambo to timba. Showcasing Cuba’s How to Use this Guide diverse musical heritage as well as its modern incarnations, this performance This guide aims to provide useful informa- features an exceptional group of emerging tion to help you prepare your students for artists and established legends such as: their experience at BAM. It provides an Alexander Abreu, CuCu Diamantes, Kelvis overview of Cuban music history, cultural Ochoa, David Torrens, and Carlos Varela. influences, and styles. Included are activi- ties that can be used in your classroom BAM is proud to be collaborating with and a CD of music by the artists that you the Red Hot Organization (RHO)—an are encouraged to play for your class. -
Redalyc.Mambo on 2: the Birth of a New Form of Dance in New York City
Centro Journal ISSN: 1538-6279 [email protected] The City University of New York Estados Unidos Hutchinson, Sydney Mambo On 2: The Birth of a New Form of Dance in New York City Centro Journal, vol. XVI, núm. 2, fall, 2004, pp. 108-137 The City University of New York New York, Estados Unidos Available in: http://www.redalyc.org/articulo.oa?id=37716209 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 Hutchinson(v10).qxd 3/1/05 7:27 AM Page 108 CENTRO Journal Volume7 xv1 Number 2 fall 2004 Mambo On 2: The Birth of a New Form of Dance in New York City SYDNEY HUTCHINSON ABSTRACT As Nuyorican musicians were laboring to develop the unique sounds of New York mambo and salsa, Nuyorican dancers were working just as hard to create a new form of dance. This dance, now known as “on 2” mambo, or salsa, for its relationship to the clave, is the first uniquely North American form of vernacular Latino dance on the East Coast. This paper traces the New York mambo’s develop- ment from its beginnings at the Palladium Ballroom through the salsa and hustle years and up to the present time. The current period is characterized by increasing growth, commercialization, codification, and a blending with other modern, urban dance genres such as hip-hop. [Key words: salsa, mambo, hustle, New York, Palladium, music, dance] [ 109 ] Hutchinson(v10).qxd 3/1/05 7:27 AM Page 110 While stepping on count one, two, or three may seem at first glance to be an unimportant detail, to New York dancers it makes a world of difference. -
Cuba “Underground”: Los Aldeanos, Cuban Hip-Hop and Youth Culture
Cuba “Underground”: Los Aldeanos, Cuban Hip-Hop and Youth Culture Manuel Fernández University of Wisconsin-Eau Claire Occasional Paper #97 c/o Center for Latin American and Caribbean Studies University of Wisconsin-Milwaukee PO Box 413 Milwaukee, WI 53201 http://www4.uwm.edu/clacs/ [email protected] Fernández 1 Cuba “Underground”: Los Aldeanos, Cuban Hip-Hop and Youth Culture Manuel Fernández The genre most frequently mentioned in U.S. university textbooks and anthologies when discussing Cuba’s recent musical production is the nueva trova , which developed soon after Fidel Castro came to power. The first edition of Más allá de las palabras (2004), to cite just one example of an intermediate Spanish language textbook, uses the trovistas Pablo Milanés and Silvio Rodríguez as examples of “contemporary” Cuban musical artists (204). Books on Cuba aimed at monolingual English speakers also depend largely on the nueva trova when attempting to present Cuba’s current musical production. The Cuba Reader: History, Culture, Politics (2003), an anthology of texts dating back to Columbus, uses samples from Silvio Rodríguez’s music on two occasions, in a chapter dedicated to the international aspects and impact of the Cuban Revolution and once again in a chapter dedicated to Cuba after the fall of the Soviet Union. Without discounting the artistic merit and endurance of the nueva trova or the numerous trovistas , the use of this music (the heyday of which was primarily in the 1960s to early 1980s) as a cultural marker for Cuban culture today seems distinctly anachronistic. It would be analogous to using music from World War II era United States to describe the events and sentiments of the 1960s. -
Books and Articles in Spanish
Books and Articles in Spanish GENERAL Chedia k, Nat 1998 Diccionario de Jazz Latino. Madrid: Fundación Autor. Molina, Antonio J. 1998 150 años de zarzuela en Puerto Rico y Cuba. San Juan, Puerto Rico: Ramallos Bros Printing, Inc. Pérez P erazz o, Alberto 1988 Ritmo afrohispano antillano 18651965. Caracas: Publicaciones Almacenadoras. Trapero, Marcelino 1996 El libro de la décima: La poesía improvisada en el mundo hispánico. Universidad de las Palmas de Gran Canaria, Cabildo Insular de Gran Canaria, Unelco, Las Palmas de Gran Canaria. CUBA Acosta, Leonardo 1982 Música y descolonización. México, D.F.: presencia latinoamericana. 1983 Del tambor al sintetizador. La Habana: Editorial Letras Cubanas. 2004 Otra visión de la música popular cubana. Havana: Letras Cubanas. Altmann, Thomas 1998 Cantos lucumí a los orichas. Hamburg: Oché. Ardévol, José 1966 Música y revolución. Havana: UNEAC. Bigott, Luis A ntonio 1993 Historia del bolero cubano (18831950). Caracas: Ediciones Los Heraldos Negros. Carbonell, José Manuel 1928 Las bellas artes en Cuba. Recopilación dirigida, prologada y anotada por José Manuel Carbonell y Rivero. La Habana : Imprenta El Siglo XX. Carpentier, Alejo 1946 La música en Cuba. México D.F.: Fondo de Cultura Económica. Casaus , Vícto r and Luis Rogelio Nogueras 1984 Silvio: que levante la mano la guitarra. Havana: Letras Cubanas. Castellanos, I sabel, 1939‐ 1983 Elegua quiere tambo : cosmovision religiosa afrocubana en las canciones populares, 2da ed. Cali, Colombia: Castillo Faíld e, Osvaldo 1964 Miguel Faílde, creador musical del danzón. La Habana: Editora del Consejo Nacional de Cultura. Collazo , Bobb y 1987 La última noche que pasé contigo: 40 años de la farándula cubana. -
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. -
PRISMA DE AMORES Latin Suite for Orchestra & Orchestral Program
199 Pemberton St. • Cambridge, MA 02140 • 617.492.1515 phone • 617.649.0299 fax PRISMA DE AMORES Latin Suite for Orchestra & Orchestral Program Description Fall 2009 marks Sol y Canto’s 15th anniversary and founders Brian and Rosi Amador’s 25th year as Latin music ambassadors. Latin music ensemble Sol y Canto and their 2001 Boston Celebrity Series-commissioned Latin suite, “Prisma de amores” has been presented with orchestras including the Springfield Symphony Orchestra, and the Boston Modern Orchestra, to name a few. Mr. Amador was the first Latino composer to be commissioned by the Boston Celebrity Series. SOL Y CANTO BIOGRAPHY Sol y Canto is an award-winning national touring ensemble with a long track record of presenting original as well as traditional and popular music in Latin American and Caribbean musical genres. They have brought audiences to their feet from the Kennedy Center and White House to the Vancouver Folk Festival, Boston’s Symphony Hall and the Museo de Arte in San Juan, Puerto Rico, amongst others. Recent highlights for Sol y Canto include performances at the Smithsonian Center in Washington, D.C., the Kimmel Center in Philadelphia,.They tour performing arts centers, concert series, and festivals, and offer concerts, master classes, and a variety of educational programs for adult and family audiences. PRISMA DE AMORES “…The [Latin suite] performances were infectious, and the pieces displayed Amador’s generous melodic gift, his rhythmic spark, and a sensitive attunement to the shifting moods of the text…” –Richard Dyer, The Boston Globe “I have heard nothing but raves from everyone, especially our new works funder. -
Improvisation in Latin Dance Music: History and Style
City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 1998 Improvisation in Latin Dance Music: History and style Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/318 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] CHAPTER Srx Improvisation in Latin Dance Music: History and Style PETER MANUEL Latin dance music constitutes one of the most dynamic and sophisticated urban popular music traditions in the Americas. Improvisation plays an important role in this set of genres, and its styles are sufficiently distinctive, complex, and internally significant as to merit book-length treatment along the lines of Paul Berliner's volume Thinking in Jazz (1994 ). To date, however, the subject of Latin improvisation has received only marginal and cursory analytical treat ment, primarily in recent pedagogical guidebooks and videos. 1 While a single chijpter such as this can hardly do justice to the subject, an attempt will be made here to sketch some aspects of the historical development of Latin im provisational styles, to outline the sorts of improvisation occurring in main stream contemporary Latin music, and to take a more focused look at improvi sational styles of one representative instrument, the piano. An ultimate and only partially realized goal in this study is to hypothesize a unified, coherent aesthetic of Latin improvisation in general. -
Cuba Rebecca Bodenheimer
Cuba Rebecca Bodenheimer LAST MODIFIED: 26 MAY 2016 DOI: 10.1093/OBO/97801997578240184 Introduction This article treats folkloric and popular musics in Cuba; literature on classical music will be included in the article entitled “Classical Music in Cuba.” Music has long been a primary signifier of Cuban identity, both on and off the island. Among small nations, Cuba is almost unparalleled in its global musical reach, an influence that dates back to the international dissemination of the contradanza and habanera in the 19th century. The 1930s constituted a crucial decade of Cuban musical influence, as the world was introduced to the genre son (mislabeled internationally as “rumba”/”rhumba”) with the hit song “El Manicero.” In the 1990s Cuban music underwent yet another international renaissance, due to both the emergence of a neotraditional style of son related to the success of the Buena Vista Social Club project, and the crystallization of a new style of Cuban dance music called timba. Moreover, Afro Cuban folkloric music has enjoyed increased visibility and attention, and has become a focal point of the tourism industry that the Castro regime began to expand as a response to the devastating economic crisis precipitated by the fall of the Soviet Union in 1991. Research on Cuban music has a long and distinguished history that began in earnest in the late 1920s and 1930s with the publications of Cuba’s most celebrated scholar, Fernando Ortiz. Many of Ortiz’s students, such as musicologist Argeliers León and folklorist Miguel Barnet, went on to form the backbone of Cuban folklore research after the Revolution in 1959. -
Bambuco, Tango and Bolero: Music, Identity, and Class Struggles in Medell´In, Colombia, 1930–1953
BAMBUCO, TANGO AND BOLERO: MUSIC, IDENTITY, AND CLASS STRUGGLES IN MEDELL¶IN, COLOMBIA, 1930{1953 by Carolina Santamar¶³aDelgado B.S. in Music (harpsichord), Ponti¯cia Universidad Javeriana, 1997 M.A. in Ethnomusicology, University of Pittsburgh, 2002 Submitted to the Graduate Faculty of the Department of Music in partial ful¯llment of the requirements for the degree of Doctor of Philosophy in Ethnomusicology University of Pittsburgh 2006 BAMBUCO, TANGO AND BOLERO: MUSIC, IDENTITY, AND CLASS STRUGGLES IN MEDELL¶IN, COLOMBIA, 1930{1953 Carolina Santamar¶³aDelgado, PhD University of Pittsburgh, 2006 This dissertation explores the articulation of music, identity, and class struggles in the pro- duction, reception, and consumption of sound recordings of popular music in Colombia, 1930- 1953. I analyze practices of cultural consumption involving records in Medell¶³n,Colombia's second largest city and most important industrial center at the time. The study sheds light on some of the complex connections between two simultaneous historical processes during the mid-twentieth century, mass consumption and socio-political strife. Between 1930 and 1953, Colombian society experienced the rise of mass media and mass consumption as well as the outbreak of La Violencia, a turbulent period of social and political strife. Through an analysis of written material, especially the popular press, this work illustrates the use of aesthetic judgments to establish social di®erences in terms of ethnicity, social class, and gender. Another important aspect of the dissertation focuses on the adoption of music gen- res by di®erent groups, not only to demarcate di®erences at the local level, but as a means to inscribe these groups within larger imagined communities.