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SPRING 2014 45 Musicalized Metatheatre: the Bolero As Intertext in Quíntuples by Luis Rafael Sánchez Sarah Piazza
SPRING 2014 45 Musicalized Metatheatre: The Bolero as Intertext in Quíntuples by Luis Rafael Sánchez Sarah Piazza Akin to the ballad, the bolero is a popular Latin American musical genre that constitutes a public expression of intensely intimate emotions, such as pain over a lover’s infidelity. At the height of its popularity in the 1940s and 50s, the bolero even served as an intermediary between lovers; asking a desired person to dance to a particular bolero transmitted an affec- tive message (Évora 21-23). Masterful boleristas like Agustín Lara, María Grever, and Daniel Santos interwove melody, instrumental accompaniment, and lyrics in a way that illustrates the ideal symbiotic relationship between the conjunto [musical group] and the dancing audience; the audience members are not merely spectators, but active receptors who give social significance to the intimate content of the bolero. The present essay analyzes the ways in which the drama Quíntuples (1984) by Puerto Rican playwright Luis Rafael Sánchez uses the bolero as an important intertext while seemingly limiting the bolero to ambiance music.1 We will first trace the parallels between thebolero as a culturally syn- cretistic musical genre and Quíntuples as a metatheatrical fusion of dramatic and narrative elements. The play’s narrative elements that we will analyze include the incorporation of an author figure, monologue, and metaliterary comments. We will then examine how spectator and reader involvement in Quíntuples relates to the bolerista’s affective communication with the au- dience, which converts listeners into performers. Although Papá Morrison and each of the quintuplets (Dafne, Baby, Bianca, Mandrake, and Carlota) at some point delivers a monologue, the body of analysis focuses on the play’s three most ostentatiously melodramatic characters –Dafne, Mandrake, and Papá Morrison–, who reveal connections to the entertainment industry and enact different characteristics of the bolero. -
El Bolero a Una De Rivación Del Danzón Cubano, Ya Que Rítmicamen Te Tienen Mucha Relación
LA VIDA ES UN BOLERO ónde? lCuándo? lEn qué circustancias? lCómo se desarrolló? lQuiénes fueron sus principales compositores? D Hace poco más de 100 años que el bole ro nació en Cuba y se fue expandiendo en las Antillas y en varios países de la América Latina. Se atribuye el nacimiento del bolero a una de rivación del danzón cubano, ya que rítmicamen te tienen mucha relación. La habanera tiene mu cho que ver con la evolución del bolero. Quizás la habanera «TU» de Eduardo Sánchez de Fuen tes haya sido la más popular habanera de todos los tiempos. Los boleros compuestos a finales del siglo pa sado, y a principios del Siglo XX, eran cantados por aquellos boleristas o trovadores, acompaña dos de guitarras que entonaban sus canciones en las serenatas, tan en moda en aquellos años. El primer bolero compuesto, se efectuó en el año 1885 por Pepe Sánchez y lo tituló «TRISTE ZAS». Vivió entonces el bolero, en aquellos años, su etapa de formacióny estructuración. Se considera a José (Pepe) Sánchez, como el pione ro de definir los rasgos del estilo del bolero. Sánchez nació en Cuba; se le conocía como el maestro. No tuvo preparación académica alguna. Todo fue por intuición, sin embargo compuso obras admirables como «Pobre Artista», «Cuba mi Patria Querida», «Esperanza», «Elvira» y otros. Los primeros trovadores y cantores de boleros en Cuba, lo fueron: Sindo Garay, Manuel Coro na, Alberto Villalón y Rosendo Ruiz. En México y las Antillas, los boleros fueron aumentando. El bolero en Cuba se baila más li gero que en Puerto Rico, República Dominica na, Venezuela, etc. -
Race, Nation, and Popular Culture in Cuban New York City and Miami, 1940-1960
Authentic Assertions, Commercial Concessions: Race, Nation, and Popular Culture in Cuban New York City and Miami, 1940-1960 by Christina D. Abreu A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (American Culture) in The University of Michigan 2012 Doctoral Committee: Associate Professor Jesse Hoffnung-Garskof Associate Professor Richard Turits Associate Professor Yeidy Rivero Associate Professor Anthony P. Mora © Christina D. Abreu 2012 For my parents. ii Acknowledgments Not a single word of this dissertation would have made it to paper without the support of an incredible community of teachers, mentors, colleagues, and friends at the University of Michigan. I am forever grateful to my dissertation committee: Jesse Hoffnung-Garskof, Richard Turits, Yeidy Rivero, and Anthony Mora. Jesse, your careful and critical reading of my chapters challenged me to think more critically and to write with more precision and clarity. From very early on, you treated me as a peer and have always helped put things – from preliminary exams and research plans to the ups and downs of the job market – in perspective. Your advice and example has made me a better writer and a better historian, and for that I thank you. Richard, your confidence in my work has been a constant source of encouragement. Thank you for helping me to realize that I had something important to say. Yeidy, your willingness to join my dissertation committee before you even arrived on campus says a great deal about your intellectual generosity. ¡Mil Gracias! Anthony, watching you in the classroom and interact with students offered me an opportunity to see a great teacher in action. -
RAFAEL HERNÁNDEZ MARÍN (1891-1965) Apuntes Biográficos Del Compositor
RAFAEL HERNÁNDEZ MARÍN (1891-1965) Apuntes Biográficos del Compositor 1891 - El 24 de octubre nace don Rafael Hernández en el barrio del Tamarindo de Aguadilla. Son sus padres Miguel Ángel Rosa y María Hernández. 1903-1914 - A los 12 años estudia música con el profesor José Ruellán Lequerica y luego con don Jesús Figueroa. Llega a ejecutar varios instrumentos, tales como el violín, trombón, bombardino, guitarra y el piano. Se traslada en su adolescencia al sector de Puerta de Tierra, San Juan, y allí toca en la Banda Municipal bajo la dirección de don Manuel Tizol, tanto en el teatro municipal como en las retretas dominicales; con los escasos ingresos habidos ayuda a sus hermanos Victoria, Jesús y Rosa Elvira. Su primera composición, la danza "María Victoria" data del año 1912. 1915 - Se alista en las fuerzas armadas durante la Primera Guerra Mundial en el Regimiento 369. Mientras está en la milicia, toca en la Banda de Música del Ejército de los Estados Unidos. Obtiene el grado de Sargento y llega a ser asistente del Director del Decimoquinto Regimiento de Infantería. 1917 - Vende su primera obra por el precio de 25 centavos; se trata del vals "Mi provisa". 1918-1920 - Se licencia del ejército y se establece en la ciudad de Nueva York. En el primer día de trabajo en un fábrica, sufre un accidente y pierde la mitad del dedo pulgar de la mano derecha. Realiza una gira artística por Estados Unidos con la Banda Lucky Roberts y simultáneamente organiza la Orquesta Hispanoamericana. En esta época participa de la vida bohemia y entabla amistad con patriotas como Luis Muñoz Marín, Luis Lloréns Torres, Luis Palés Matos y Pedro Flores. -
Rafael Hernández Marín (El Jibarito)
MÚSICA RAFAEL HERNÁNDEZ MARÍN (EL JIBARITO) Ramón O´Neill posteriormente en Alemania, género musical que por conducto del país galo y del teutón se extendió Uno de los hijos que más prestigio le ha dado a Puerto paulatinamente por toda Europa. Así, mediante los negros Rico es una columna artística de fama internacional y puertorriqueños del Harlem Hellfighters, el Jazz recibió las presencia imperecedera por derecho propio. El nombre de aportaciones musicales de la antillanidad de Borinken, esa columna artística es Rafael Hernández Marín, conocido sobresaliendo Rafael Hernández Marín como trombonista. como “El Jibarito”, quien nació el 24 de octubre de 1891 en el barrio Tamarindo de la ciudad de Aguadilla, en el Ese fue el inicio –indirecto, pero inicio al fin– de la oeste de Puerto Rico. Lo que implica que tenía casi siete presencia internacional de la música popular años cuando terminó en Puerto Rico el imperialismo puertorriqueña y de sus músicos negros, que décadas español y comenzó el de Estados Unidos de América después se iban a multiplicar y tener gran presencia (EUA). Incluso debió vivir en carne propia la invasión internacional, como Rafael Cortijo y su Combo, Tito armada gringa (25/julio/1898), por ser Aguadilla un pueblo Puente, Tito Rodríguez, Noro Morales, Daniel Santos, cercano a la ciudad de Mayagüez, uno de los puntos Myrta Silva, el Gran Combo de Puerto Rico, Eddie geográficos por donde las fuerzas militares del nuevo Palmieri y la Perfecta, Sonora Ponceña, Ismael Rivera y imperio desembarcaron para imponer el colonialismo a sus Cachimbos, Joe Cuba y su Sexteto, Ray Barreto, Puerto Rico. -
Calle 3Ra #1008 E/ 10 Y 12. Playa, La Habana, Cuba. Telf.: (537) 204 1524 “Siente La Música”
1. Portada Vol.I ¨Homenaje a Rafael Hernández¨ 1. Cachita / Rumba / 1957 / 2:28 (Cuarteto D´Aida con la Orq. de Chico O´Farrill) 2. Quimbamba / Son afro / 195…/ 3´03 (Miguelito Valdés y Margarita Romero con Orq. Rafael De Paz) 3. Capullito de alelí - Buche y pluma / Guaracha / 1958 / 2´57 (Rolando Laserie y Orq. de Ernesto Duarte) 4. Ahora seremos felices / Bolero / 1964 / 2´47 (Paulina Álvarez con la Orq, dirigida por Rafael Somavilla) 5. Perfume de gardenias / Bolero / 195…/ 2´39 (Bienvenido Granda con la Sonora Mejicana) 6. Lo siento por ti / Bolero / 1960 / 2´38 (Ñico Membiela y Orquesta) 7. Tú no Comprendes / Danzón cantado /1955 / 3´07 (Barbarito Diez y Orq. de Antonio María Romeu) 8. Silencio / Bolero / 1956 / 3´11 (Orquesta Aragón) 9. Dónde tú irás / Bolero-mambo /1960 / 2´34 (Orlando Contreras y Orquesta) 10. Dos letras (Traición) / Bolero /195…/ 3´18 (Ramón Veloz y guitarras de Roberto González y Orestes Jiménez) 11. Canción del alma / Bolero / 1960 / 3´02 (Amado Borcelá ¨Guapacha¨ con la Orq. de Bebo Valdés) 12. Amor ciego / Bolero / 1957 / 3´20 (Fernando Álvarez y Orquesta Aragón) 13. Llora corazón / Bolero / 1960 / 3´00 (José Tejedor y Luis Oviedo con el Conj. Musicuba) 14. Desvelo de amor / Bolero / 1990 / 3´22 (Roberto Sánchez con la Orq. dirigida por Joaquín Mendivel) 15. Despecho / Bolero / 1996 / 2´25 (Tito Gómez y Orq. Todos Estrellas) 16. Ausencia / Bolero / 1979 / 4´31 (Elena Burke y Orquesta dirigida por Adolfo Pichardo) 17. Qué te importa / Bolero /1960 / 3´05 (Fernando Álvarez y Quinteto de Felipe Dulzaides) 18. -
Puerto Rican Music and Cultural Identity: Creative Appropriation of Cuban Sources from Danza to Salsa
City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 1994 Puerto Rican Music and Cultural Identity: Creative Appropriation of Cuban Sources from Danza to Salsa 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/22 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] Puerto Rican Music and Cultural Identity: Creative Appropriation of Cuban Sources from Danza to Salsa Author(s): Peter Manuel Source: Ethnomusicology, Vol. 38, No. 2, Music and Politics (Spring - Summer, 1994), pp. 249- 280 Published by: University of Illinois Press on behalf of Society for Ethnomusicology Stable URL: http://www.jstor.org/stable/851740 . Accessed: 14/12/2014 15:01 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of Illinois Press and Society for Ethnomusicology are collaborating with JSTOR to digitize, preserve and extend access to Ethnomusicology. http://www.jstor.org This content downloaded from 146.111.34.148 on Sun, 14 Dec 2014 15:01:55 PM All use subject to JSTOR Terms and Conditions VOL.38, NO. -
From Puerto Rico to France to the South Bronx: Rafael Hernández and His Legacy in the Bronx
Volume XLVIII Numbers 1 & 2 Spring / Fall 2011 EDITORIAL BOARD Dr. Peter Derrick, Editor Dr. Elizabeth Beirne Dr. Gary Hermalyn Mr. Patrick Logan Ms. Kathleen A. McAuley Ms. Catherine Pellicano Copyright 2011 by The Bronx County Historical Society, Incorporated. The Bronx County Historical Society Journal is published by The Bronx County Historical Society, Incorporated. All correspondence should be addressed to 3309 Bainbridge Avenue, The Bronx, N.Y. 10467. Articles appearing in this Journal are abstracted and indexed in America: History and Life, PERiodical Source Index and Recent Scholarship Online. The Journal and its editors disclaim responsibility for statements made by contributors. ISSN 0007-2249 Microfilm and Microfiche issue and article copies are available through University Microfilms International 300 North Zeeb Road, Ann Arbor, Michigan 48106. The Bronx County Historical Journal articles can also be found on EBSCO host research databases. Visit our website www.bronxhistoricalsociety.org 1 FROM PUERTO RICO TO FRANCE TO THE SOUTH BRONX: RAFAEL HERNÁNDEZ AND HIS LEGACY IN THE BRONX by Elena Martínez Rafael Hernández was a prolific composer of the popular music of his day, such as boleros (romantic ballads) and guarachas (up-tempo humorous anecdotal songs), styles that originated in Cuba. He took those genres and created melodies and lyrics that pertained to his homeland, thereby giving them a distinct Puerto Rican voice. Today he is considered not just the greatest Puerto Rican composer, but one of the best in Latin America, because many of his songs, such as the anthem, Lamento Borincano, a lament about a poor farmer who can’t sell his goods, resonated throughout the region. -
A Brief History of the Afro-Borincano by Tony (The Marine) Santiago
A Brief history of the Afro-Borincano By Tony (The Marine) Santiago Black history in Puerto Rico initially began with the African freeman who arrived with the Spanish Conquistadors. The Spaniards enslaved the Tainos who were the native inhabitants of the island and many of them died as a result of the cruel treatment that they had received. This presented a problem for the Spanish Crown since they depended on slavery as a means of manpower to work the mines and build forts. Their solution was to import slaves from Africa and as a consequence the vast majority of the Africans who immigrated to Puerto Rico did so as a result of the slave trade. The Africans in Puerto Rico came from various points of Africa, suffered many hardships and were subject to cruel treatment. When the gold mines were declared depleted and no longer produced the precious metal, the Spanish Crown ignored Puerto Rico and the island became mainly a garrison for the ships. Africans from British and French possessions in the Caribbean were encouraged to immigrate to Puerto Rico and as freemen provided a population base to support the Puerto Rican garrison and its forts. The Spanish decree of 1789 allowed the slaves to earn or buy their freedom. However, this did little to help them in their situation and eventually many slaves rebelled, most notably in the revolt against Spanish rule known as the "Grito de Lares“. On March 22, 1873, slavery was finally abolished in Puerto Rico. The Africans that came to Puerto Rico overcame many obstacles and particularly after the Spanish- American War, their descendents helped shape the political institutions of the island. -
Rafael Hernández, 'El Jibarito' (1891-1965)
Rafael Hernández, 'El Jibarito' (1891-1965) Por Alejandro C. Moreno y Marrero. El compositor puertorriqueño Rafael Hernández, popularmente conocido como 'el Jibarito', se configura como uno de los más importantes personajes de la música latinoamericana de todos los tiempos. Se trata, para aquellos amigos de BienMeSabe.org que no le conozcan, del fundador del afamado Trío Borinquen (1927), así como del creador de canciones como "Lamento borincano", "Capullito de alhelí", "Desvelo de amor", "Silencio", "Cachita", "No me quieras tanto", "Preciosa", "Lo siento por ti", "Enamorada", "Campanitas de cristal", "Perfume de gardenias", “Payaso”..., y un sin fin de títulos más que, sin duda alguna, todos hemos escuchado alguna vez. Rafael Hernández Marín nace el 24 de octubre de 1891 en localidad de Aguadilla (Puerto Rico). Desde muy temprana edad contó con el apoyo de su abuela materna, quien lo estimuló para que formalizara sus estudios musicales. Aprendió a tocar el piano, la guitarra, el violín y algunos instrumentos de viento (trompeta, trombón y bombardino). Siendo aún adolescente se trasladó a San Juan de Puerto Rico, donde tocó en la Orquesta Municipal bajo la dirección de Manuel Tizón. En 1912, compuso su primera obra musical, una danza titulada “María y Victoria”, sin embargo, el comienzo de la Segunda Guerra Mundial le obligó a servir en las Fuerzas Armadas de los Estados Unidos, donde formó parte de la Banda Militar. Acabada su misión en el ejército, “el Jibarito” se estableció en la ciudad de Nueva York, lugar en el que conoce a destacadas figuras de la música como Luís Llorens Torres y Pedro Flores, con quien, según se comenta, en una ocasión hizo una apuesta para ver quién era capaz de escribir más canciones en una sola semana. -
Cuban and Puerto Rican Music Connections from the 1920S-1970S
U.S. METROPOLITAN BRIDGES TO PUERTO RICAN MUSIC IDENTITY; CUBAN AND PUERTO RICAN MUSIC CONNECTIONS FROM THE 1920S-1970S A MASTER'S THESIS PROPOSAL SUBMITTED TO THE GRADUATE FACULTY LIBERTY UNIVERSITY BY William G. Johnson IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ETHNOMUSICOLOGY September 5, 2017 Copyright 2017 by William G. Johnson i Acknowledgements It would be an impossible task for me to acknowledge and thank everyone who made this effort possible. I would be remiss however, not to mention a few people who have helped make this project possible. Thank you to: My greatest source of inspiration throughout this process. My health, intellect, and passion are given meaning by my creator, the maker of the most heavenly melodies. Thank you Jesus. My wife and children for their support, understanding, patience and love. You are my heart. This project would not exist if not for your inspiration and motivation each step of the way. I love you. Mom and Dad, for your years of sacrifice, and belief in me have given me the foundation necessary for this work. I pray I continue to make you proud. Ralph, Tyrone and Elaine thank you for your support, and also your assistance with the children through the years of this work. I know it was a labor of love. Michael, Trinai and my three wonderful nephews: thank you for your love, and support. Dr. Morehouse for your patience and wisdom. Your guidance has been invaluable. Thank you for your consistent willingness to assist the success of this project. -
Geographies and Cultural Production of the Cuban Velvet Exile in Contemporary Spain
A Trans-Atlantic Encounter—Special Period Migration and La Nueva España: Geographies and Cultural Production of the Cuban Velvet Exile in Contemporary Spain by Jessica Piney A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Romance Languages and Literatures: Spanish) in The University of Michigan 2011 Doctoral Committee: Associate Professor Lawrence M. La Fountain-Stokes, Chair Professor Enrique García Santo-Tomás Professor Cristina Moreiras-Menor Associate Professor Jesse E. Hoffnung-Garskof Para mi madre y mi abuela—inseparables las tres. Desde el Cielo, lo han hecho todo posible. E.P.D. 5/11 ii Acknowledgements My gratitude towards all the people, places, sights and sounds that have made this project a reality cannot be properly expressed with a simple thank you but with this humble phrase I express my upmost sentiment of agradecimiento. I thank the University of Michigan’s Department of Romance Languages and Literatures for all their support throughout these years. Alejandro Herrero-Olaizola is responsible for the vision of this dissertation and I am grateful for his patience and his support throughout its development. To my committee members Cristina Morieras- Menor, Enrique García Santo-Tomás and Jesse Hoffnung-Garskoff (American Culture), I am humbled by your reception of the project and thank you for such insightful comments and suggestions for its improvement. To my director, Larry La Fountain-Stokes, I have no words. More than a professor, you are an inspiration and a model of unwavering allegiance to your work and your students. You are a miracle worker and I am still in awe of my fortune to have had your guidance in the completion of our project.