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A Cross-Cultural Grammar for Temporal Harmony in Afro-Latin Musics: Clave, Partido-Alto and Other Timelines
Published 2012-09-01“…Clave is typically identified as the rhythmic anchor of Cuban music. Furthermore, Eugene Novotney, Hugo “Foca” Machado, Willy Muñoz, Jorge Sadi, and Chris Washburne, among other musicians and scholars, have argued that clave is central not only in Cuban music but in all Afro–American music. …”
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Vanguardias mirando al Este y al Sur. Los festivales de música contemporánea en Cuba y su relación con la Europa Oriental y Latinoamérica (1959-1990)
Published 2022-06-01“…Contemporary Cuban musical activity between 1959 and 1990 was characterized as one of the most prolific and attractive in its young history. …”
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THE "TOQUE DE VIOLÍN": AN EMERGING TRADITION IN CUBA
Published 2010-09-01“…This fact calls for rethinking what the concept of 'traditions' in Cuban music means. </p>…”
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Paridades y conflictos: Analogía de dos mundos en <i>La Celestina</i> de Teatro El Público
Published 2021-01-01“…Other ingredients of the production, such as the wardrobe, the nudity of some of the actors, eroticized acting, the addition of Spanish and Cuban music, and the physical disposition of the stage helped to highlight interesting parallelisms and contrasts between the medieval world in which Celestina was written and the situation of Cuba at that moment.…”
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La Rumba Ritmo de Resistencia Cultural
Published 2020-07-01“…The paper refers to the relationship between the port-city and the migration of Hispanics and Africans brought as slaves to the Island and that in a cultural exchange their descendants created one of the most prominent rhythms in the Cuban musical stave , but that contributed to the identity of the Cuban people and to develop links between the practicing sectors belonging to the dispossessed classes, the profane nature of the rhythm is also related. …”
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La racialidad en la música: De Nicolás Guillén al rap y a Tony Ávila
Published 2020-07-01“…That’s why the goal of the present paper is to reveal how racial problem has been developed in Cuban music through the lyric of Nicolas Guillen’s poems Motivos de Son, the Cuban rap ¿Quién tiro la tiza? …”
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Discursos y prácticas en torno a la construcción de una “escuela cubana de composición”: José Ardévol, el Grupo de Renovación Musical y la Orquesta de Cámara de La Habana (1934-194...
Published 2019-11-01“…This attempt required the negotiation of aspects, such as those of “tradition” and “identity”, which had a different meaning for Ardévol (a Catalonian composer emigrated to the island in 1930 and an ardent follower of Stravinsky’s and Falla’s Neoclassicism) than for the previous generation of composers (Amadeo Roldán and Alejandro García Caturla) and Alejo Carpentier, the main authority in Cuban Music Historiography and a firm supporter of Afrocubanism. …”
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PA’ QUE TÚ NO SABE LO QUE ES SER GUAPO. A PROCURA DO “HOMEM NOVO” NO RAP CUBANO/ PA’ QUE TÚ NO SABE LO QUE ES SER GUAPO. THE SEARCH FOR THE "NEW MAN" IN CUBAN RAP
Published 2019-04-01“…Hombre Nuevo Abstract I develop an interpretation of the fictional narratives of masculinity present in rap music when it emerged in Cuban musical culture. These narratives allow an approximation of the imaginary of the young generation that came of age during the “special period”. …”
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CULTURA Y MÚSICA CORAL, UN CAMINO POR RECORRER
Published 2015-01-01“…Reference to some actions that have contributed to the musical development in the country is well made, and includes brief information about the Cuban musical creation, taxed latently to choral music; as well as contributions, benefits and failures that had music concert in the country. …”
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