![](https://image.librarything.com/pics/fugue21/magnifier-left.png)
![](https://images-na.ssl-images-amazon.com/images/P/019996582X.01._SX180_SCLZZZZZZZ_.jpg)
Fai clic su di un'immagine per andare a Google Ricerca Libri.
Sto caricando le informazioni... Danzón: Circum-Caribbean Dialogues in Music and Dance (Currents in Latin American and Iberian Music)di Alejandro L. Madrid, Robin D. Moore
Nessuno Sto caricando le informazioni...
![]() Iscriviti per consentire a LibraryThing di scoprire se ti piacerà questo libro. Attualmente non vi sono conversazioni su questo libro. nessuna recensione | aggiungi una recensione
Premi e riconoscimenti
Initially branching out of the European contradance tradition, the danzon first emerged as a distinct form of music and dance among black performers in nineteenth-century Cuba. By the early twentieth-century, it had exploded in popularity throughout the Gulf of Mexico and Caribbean basin. Afundamentally hybrid music and dance complex, it reflects the fusion of European and African elements and had a strong influence on the development of later Latin dance traditions as well as early jazz in New Orleans. Danzon: Circum-Caribbean Dialogues in Music and Dance studies the emergence,hemisphere-wide influence, and historical and contemporary significance of this music and dance phenomenon.Co-authors Alejandro L. Madrid and Robin D. Moore take an ethnomusicological, historical, and critical approach to the processes of appropriation of the danzon in new contexts, its changing meanings over time, and its relationship to other musical forms. Delving into its long history ofcontroversial popularization, stylistic development, glorification, decay, and rebirth in a continuous transnational dialogue between Cuba and Mexico as well as New Orleans, the authors explore the production, consumption, and transformation of this Afro-diasporic performance complex in relation toglobal and local ideological discourses.By focusing on interactions across this entire region as well as specific local scenes, Madrid and Moore underscore the extent of cultural movement and exchange within the Americas during the late nineteenth and early twentieth-centuries, and are thereby able to analyze the danzon, the dance scenesit has generated, and the various discourses of identification surrounding it as elements in broader regional processes. Danzon is a significant addition to the literature on Latin American music, dance, and expressive culture; it is essential reading for scholars, students, and fans of this musicalike. Non sono state trovate descrizioni di biblioteche |
Discussioni correntiNessuno
![]() GeneriSistema Decimale Melvil (DDC)781.64The arts Music General principles and musical forms Traditions of music Western popular music {equally instrumental and vocal}Classificazione LCVotoMedia:![]()
Sei tu?Diventa un autore di LibraryThing. |
Circularity, and the paths it entails, plays a key role in linking Cuba to the larger Western Hemisphere. Though Moore and Madrid cite “circum-Caribbean dialogues” in their title, I would argue that this book goes the farthest of any work we’ve read thus far in situating Cuba within a hemispherical model. While Scott’s Degrees of Freedom discussed larger global trends in the late-nineteenth and early-twentieth centuries, she focused on one family, whereas Moore and Madrid focus on multiple sources and patterns from around the “West.”
Moore and Madrid demonstrate that the danzón was a dynamic process by tracing changes in the music and movements as it moved across borders. Their continued use of comparative musical staves shows how musicians adopted elements from each other’s work and incorporated them into their own cultural milieu. Further, Moore and Madrid described how these staves represent the music only as it appeared for piano rather than as a living work full of improvisations as musicians played it. This work is only possible through a cross-disciplinary approach. Moore and Madrid blend musicology, history, anthropology, and more to form their argument. (