Bibliografia Cubana
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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. -
Tourism Industry's Top Event
© YEAR VIII THE Nº 8 APR 30, 2018 HAVANA, CUBA ISSN 2224-5707 Price: avana eporter 1.00 CUC H YOUR SOURCE OF NEWSR & MORE 1.00 USD A Bimonthly Newspaper of the Prensa Latina News Agency 1.20 CAN FIT Cuba 2018 Tourism Industry’s Top Event P. 2 Cuban Culural Havana’s Health & Science Cuban Coral Reefs Are Festival Warmly Prado Lions Uniquely Well Preserved Welcomed in P. 5 Washington Economy Vietnamese Companies Focus on Cuba P. 13 Sports Panama’s Russian World Cup Dream P. 7 P. 11 P. 15 2 TOURISM FITCUBA 2018 Tourism Industry’s Top Event Text & Photos by RobertoF. CAMPOS There are also some 2,000 privately- owned restaurants known as ‘Paladares’ HAVANA.- The 38th International and over 21,000 guesthouse rooms. Tourism Fair, FITCuba 2018, to take place Some 34 percent of the total number on the Santa María Key between May 2nd of visitors to Cuba come from Canada and and 6th, will once again provide the ideal when combined with numbers visiting opportunity for tour operators and travel from the United States, the statistic rises agents to update themselves on the to 45 percent. wonders of the Cuban archipelago. Moreover, 33 percent originate in The fair will not only allow trade Europe and 16 percent come from other specialists to make their plans, book Latin American nations. hotels, tours and trips for the rest of the Despite US Governmental restrictions year, but also to get first-hand experience that limit US citizens to travel under one of the continuing growth trend in Cuba’s of 12 licensed categories, a 118 percent tourism industry. -
From Literary Page to Musical Stage: Writers, Librettists, and Composers of Zarzuela and Opera in Spain and Spanish America (1875-1933)
From Literary Page to Musical Stage: Writers, Librettists, and Composers of Zarzuela and Opera in Spain and Spanish America (1875-1933) Victoria Felice Wolff McGill University, Montreal May 2008 A thesis submitted to McGill University in partial fulfillment of the requirement of the degree of PhD in Hispanic Studies © Victoria Felice Wolff 2008 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 OttawaONK1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-53325-3 Our file Notre reference ISBN: 978-0-494-53325-3 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 reproduce, 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. -
An Approach to the Cuban Institutions That Treasure Document Heritage Related to Music
An Approach to the Cuban Institutions that Treasure Document Heritage Related to Music CUBA Obrapía No.509 entre Bernaza y Villegas/Habana Vieja CP10100 Teléfonos: 7861-9846/7 863-0052 Email: [email protected] Lic. Yohana Ortega Hernández Musicologist Head of the Archives and Library Odilio Urfé National Museum of Music 2 The first institution in Cuba which aimed at compiling, studying and disseminating the Cuban music heritage was the Institute for the Research on Folk Music (IMIF), created in 1949 by Odilio Urfé González together with a group of outstanding musicians. In 1963 the Institute became the Seminar for Popular Music (SMP) and in 1989, the Resource and Information Center on Cuban Music Odilio Urfé. In 2002, this institution merged its collections with the collections of the National Museum of Music (MNM) (officially created on September 9, 1971). The MNM is the most important institution in the country dedicated to the conservation, study and dissemination of the Cuban music heritage. Its collections are housed in the Archives and Library Odilio Urfé. Other institutions that in Cuba treasure documents related to music are the National Library José Martí in Havana, the Elvira Cape Library in Santiago de Cuba, the Center for the Research and Development of Cuban Music (CIDMUC); the Alejandro García Caturla Museum in Remedios and the Museum of Music Rodrigo Prats in Sagua la Grande, both in Villa Clara province; the Resource and Information Center on Music Argeliers León in Pinar del Río; the Center for Information and Documentation on Music Rafael Inciarte in Guantánamo and; the Museum of Music Pablo Hernández Balaguer in Santiago de Cuba. -
De La Zarzuela Española a La Zarzuela Cubana: Vida Del Género En Cuba
L Ángel hzie Vázquez Millares De la zarzuela española a la zarzuela cubana: vida del género en Cuba La investigación acerca del pasado teatral cubano es uno de los Research into Cuban theatrical history is one of (he cloudiest arcas of (he puntos más oscuros de la historiografía de la literatura y el teatro cuba- historiography of Cuban theatre and literature. There is no existing study of nos y, con referencia al caso especial de la zarzuela en Cuba, no existe (he special case of (he zarzuela in Cuba. This historiographical deficiency in ningún estudio monográfico dedicado a ella. Esta carencia historiográfi- no way reflects the historical reality. On the contrary, Cuba presents an in- ca no refleja en absoluto la realidad histórica. Ésta nos presenta, sin tense level of activity relating to zarzuela and dramatic music, which dates embargo, un cuadro con una actividad intensa relativa a la vida lírica y bach to the end of (he eighteenth century. The present article aims to methodi- zarzuelística que tiene sus orígenes a finales del s. XVIII. El presente tra- cally indicate the main lines of (he history of (he zarzuela in Cuba, bajo trata de señalar ordenadamente las líneas maestras por las que emphasizing the existence of two parallel histories: on (he one hand, Spanish discurrió la historia de la zarzuela en Cuba poniendo de relieve la exis- zarzuela in Cuba, whose reception is analysed, and on (he other, properly tencia de dos historias paralelas: por un lado la de la zarzuela española Cuban zarzuela itself. en Cuba, cuya recepción se analiza y, por otro lado, la de la propia zar- zuela cubana. -
PROGRAMA Ernesto Lecuona in Memoriam (125 Años De Su Nacimiento)
MARTES, 29 DE SEPTIEMBRE | 20:00 H – AUDITORIO “ÁNGEL BARJA” TROVA LÍRICA CUBANA Daina Rodríguez_soprano | Ana Miranda_alto | Nadia Chaviano_viola Flores Chaviano_guitarra y dirección PROGRAMA Ernesto Lecuona in memoriam (125 años de su nacimiento) EUSEBIO DELFÍN (1893-1995): Y tú qué has hecho? -bolero JULIO BRITO (1908-1968): El amor de mi bohío –guajira EDUARDO SÁNCHEZ DE FUENTES ELISEO GRENET (1893-1950): (1874-1944): La volanta Negro bembón/N. Guillén -son GONZALO ROIG (1890-1970): EMILIO GRENET (1901-1941): Ojos brujos -fantasía guajira Yambambó /N. Guillén -afro ERNESTINA LECUONA (1882-1951): GILBERTO VALDÉS (1905-1972): Tus besos de pasión -bolero Ogguere - canción de cuna afro MARGARITA LECUONA (1910-1981): RODRIGO PRATS (1909-1980): Babalú -motivo afrocubano Una Rosa de Francia -criolla bolero María Bailén: Chacone –romanza ERNESTO LECUONA (1895-1961): Aquella Tarde -criolla-bolero MOISÉS SIMONS (1889-1945): Siboney -tango congo El manisero -pregón María la O -romanza TROVA LÍRICA CUBANA rova Lírica Cubana fue fundada en España en 1992. Desde Manzanares el Real; Universidad de Salamanca; Festival Inter- entonces ha ofrecido recitales en numerosas instituciones: nacional Andrés Segovia, Fundación Botín de Santander o Casa Instituto Cervantes, Our Lady of Good Church de Nueva de Cantabria, y en ciudades como Florencia, Barcelona, Valencia, York, Centro Cultural Español de Miami; Centro Cultural de la Vi- Segovia, San Lorenzo del Escorial, Aranjuez o Gijón. lla, Centro Cultural Conde Duque, Sala Galileo, Casa del Reloj, Sa- cristía de los Caballeros de Santiago, Ateneo de Madrid; Clásicos Desde su fundación ha centrado su trabajo en la difusión en Verano de la Comunidad de Madrid, Castillo de Los Mendoza, del repertorio más selecto de la canción lírica cubana. -
Patrioten Mit Gitarre. Die Sänger Der Trova Tradicional
Dulcila Cañizares Patrioten mit Gitarre. Die Sänger der trova tradicional Trova und Troubadour, dies sind Wörter, die bei einem Kubaner nicht die Erinnerung an den deutschen Minnesänger des Mittelalters, an die trouvères im Norden Frankreichs oder die provenzalischen Trouba- doure weckt. All diese hatten ihren Aufschwung und Höhepunkt zwi- schen dem 11. und dem 13. Jahrhundert und dürfen nicht verwechselt werden mit den umherwandernden Gauklern. Nein, bei einem Kuba- ner beschwören diese Wörter eine ganz andere Assoziation herauf: Die von Serenaden mit Gitarrenbegleitung, gesungen von armen Ku- banern im 19. und bis weit in das 20. Jahrhundert hinein. Während in Europa die ministriles und Gaukler einfache Leute der Straße waren, war die höfische Unterhaltung Sache der Troubadoure, die hierarchisch eine höhere Stellung bekleideten, denn es handelte sich um einen vom Adel ausgeübten Beruf. In Kuba jedoch hatten die trovadores, wie sie auf Spanisch heißen, nichts gemeinsam mit den Troubadouren im mittelalterlichen Süden Frankreichs. Die ersten ku- banischen trovadores, die anfingen, ihre Verse und Lieder zu machen, gehörten den unteren sozialen Schichten an; sie waren Arbeiter, Schuster, Schneider, konnten sich nur schwer eine Gitarre leisten und waren zudem meist noch Analphabeten, die das Instrument höchstens rudimentär beherrschen lernten, fast immer durch Nachahmung. 1. Wann kam die Gitarre nach Kuba? Es kann angenommen werden, dass die Gitarre, oder vielleicht die Laute, gleich im Jahrhundert der Entdeckung nach Kuba gekommen ist; es fehlen allerdings eindeutige Beweise. Als sicher gilt, dass die Gitarre von den ersten spanischen Siedlern mitgebracht wurde. Die Tage und Nächte fernab der Heimat waren für sie kein schönes Aben- teuer und die Gitarre diente ihnen als Unterhaltungsmöglichkeit. -
“¿Qué Dice Usted?”: Discourses of Femininity in Nueva Trova
“¿QUÉ DICE USTED?”: DISCOURSES OF FEMININITY IN NUEVA TROVA CUBANA by JULIANNE L. GRAPER A THESIS Presented to the School of Music and Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts June 2014 THESIS APPROVAL PAGE Student: Julianne L. Graper Title: “¿Qué Dice Usted?”: Discourses of Femininity in Nueva Trova Cubana This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the School of Music and Dance by: Juan Eduardo Wolf Chairperson Loren Kajikawa Member Carlos Aguirre Member and Kimberly Andrews Espy Vice President for Research and Innovation; Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2014 ii © 2014 Julianne L Graper iii THESIS ABSTRACT Julianne L. Graper Master of Arts School of Music and Dance June 2014 Title: “¿Qué Dice Usted?”: Discourses of Femininity in Nueva Trova Cubana Following the Revolution of 1959, the Cuban government implemented policy reforms geared towards increasing women’s rights. Despite these efforts, however, sexism persists in Cuban society. This difference between rhetoric and reality is reflected in the song genre, nueva trova, which foregrounds a progressive agenda for women’s rights but continues to marginalize their participation. Prominent nueva trova performers Silvio Rodríguez and Pablo Milanés advocate women’s rights in their songs, but their music remains couched in patriarchal structures that prevent women from speaking for themselves. Sara González, one of the first prominent female nueva trova composers, was able to integrate into government-supported trova institutions by adopting a masculine, revolutionary aesthetic, which she then adapted to feminist themes to combat the ideological disparity. -
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 -
Seccion 02 H
ORQUESTA HABANA Según Radamés Giro, “Diccionario Enciclopédico de la Música en Cuba” Ed. Letras Cubanas, 2007, En 1936 estaba integrada por Estanislao Serviá, dir. Y ba; Joseíto Valdés, fl; Humberto Bello,p; José Antonio Curbelo,vn; Máximo Pérez, tim; Concepción Pérez, gr y Alfredo Rivero, v. Era en realidad una charanga. 1957 Mus 1624 Chachacha vs. Rock and Roll Alej.Sosa TRÍO HABANA Rosendo Ruiz, Santiago de Cuba, 3/1/1885. Guitarrista y compositor. Considerado como uno de los cuatro grandes de la trova cubana, empieza en Santiago, escuchó y aprendió del pionero Pepe Sánchez. Hace sus primeras composiciones, y va simultaneando la carrera musical con otras profesiones para vivir. Reside un tiempo en Cienfuegos, y después en La Habana. En 1926 forma el cuarteto Cuba, con Vitaliano Matas, primera guitarra, Corzo y otro de apellido Ruiz también. En 1936 compone el Trío Azul (ver Trío Azul). Para 1929 forma el Trío Habana, con Emilio Betancourt y Enrique Hernández. Compuso más de doscientos números, siendo posiblemente el primero en usar el bambuco colombiano en Cuba. María Teresa Vera grabó muchos de sus números a dúo con Zequeira. Entre sus composiciones más importantes: Rosina y Virginia, Falso juramento, Mares y arenas, La comparsa del malacó, Junto a un cañaveral, Terina, La chaucha, Se va el dulcerito. Murió en La Habana en 1983, casi centenario.Ver: Radamés Giro, “Diccionario Enciclopédico de la Música en Cuba”Ed. Letras Cubanas, 2007. Marta Valdés: “Donde vive la música” Ed. Unión, La Habana, 2004, p31. ver: Guillermo Portabales HV 30475 9/13/29 Br 40809 CU Give me a kiss my love / cap RRp CD ACR 803 SEXTETO HABANERO Véase para orígenes del Sexteto Habanero, primer volumen de esta Discografía, 1898-1925, página 317 y siguientes especialmente sobre el Cuarteto Oriental y el Sexteto Habanero de Godínez. -
Arsenio Rodríguez
Arsenio Rodríguez Birth name Ignacio Arsenio Travieso Scull Born August 31, 1911 Güira de Macurije, Matanzas Province, Cuba Origin Cuba Died December 31, 1970 (aged 59) Los Angeles, California, United States Genres Son montuno, guaracha, guaguancó, bolero, afro, cha- cha-cha, lamento Occupations musician Instruments tres, tumbadora (conga) Arsenio Rodríguez (born Ignacio Arsenio Travieso Scull, Güira de Macurije, 31 August 1911 – Los Angeles, 31 December 1970)was a Cuban musician, composer and bandleader.He played the tres (Cuban string instrument) in son-based music and tumbadora, or conga, in folkloric rumba. In the 1940s and 50s Rodríguez reorganized the son conjunto (‘son group’) and developed the son montuno, the basic template of modern-day salsa. He claimed to be the true creator of the mambo and was an important as well as a prolific composer who wrote nearly two hundred song lyrics.Early lifeRodríguez was born in Güira de Macurije in Bolondrón, Matanzas Province as the third of fifteen children, fourteen boys and one girl.As a young child, Rodríguez was blinded when a horse (or a mule) kicked him in the head.Rise to FameLater, Rodríguez became a musician, and eventually became one of the most renowned bandleaders on the island earning him the nickname El Ciego Maravilloso (the Marvellous Blind Man). His music emphasized Afro-Cuban rhythm as well as the melodic lead of the tres, which he played. In 1936 he played his own compositions with the Sexteto Boston, led by his cousin Jacinto Scull. The group disbanded in 1937, and he joined the Septeto Bellamar of cornetist José Interián in 1938.