Relevant bibliographies by topics / Afro-cuban jazz

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Afro-cuban jazz'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "Afro-cuban jazz"

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GARCÍA, DAVID. "“We Both Speak African”: A Dialogic Study of Afro-Cuban Jazz." Journal of the Society for American Music 5, no. 2 (2011): 195–233. http://dx.doi.org/10.1017/s1752196311000034.

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AbstractFrom 1947 to 1948 the Dizzy Gillespie orchestra with Chano Pozo produced some of the most important recordings that contributed to the development of Afro-Cuban jazz. Pozo had already led a successful career as a professional musician in Havana before he moved to New York City, where he met Gillespie and joined his bebop big band. The integration of a black Cuban percussionist into Gillespie's all-black band raises important questions about the racial politics enveloping the popularization of bebop, Afro-Cuban jazz, and the work of others in contemporaneous political, cultural, and intellectual arenas. This article provides new documentation of Pozo's performances with the Gillespie band in the United States and Europe and shows the ideological concerns that Pozo and Gillespie shared with West African political and cultural activists, Melville Herskovists and his students, and early jazz historians in the 1940s. The article suggests an alternative methodology for scholarship on jazz in the United States that approaches jazz's extensive engagements with Cuban and other Afro-Atlantic musicians as embodying the crux of jazz's place in the Afro-Atlantic.
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Valentín-Escobar, Wilson A. "From Afro-Cuban Rhythms to Latin Jazz." Latino Studies 6, no. 3 (2008): 348–54. http://dx.doi.org/10.1057/lst.2008.34.

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Aparicio, Frances R. "From Afro-Cuban Rhythms to Latin Jazz." Hispanic American Historical Review 88, no. 2 (2008): 350–51. http://dx.doi.org/10.1215/00182168-2007-157.

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Ted A. Henken. "From Afro-Cuban Rhythms to Latin Jazz (review)." Caribbean Studies 37, no. 1 (2009): 314–19. http://dx.doi.org/10.1353/crb.0.0113.

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Bøhler, Kjetil Klette. "Groove Aesthetics in Afro-Cuban Jazz: Towards an Empirical Aesthetic Theory." Studia Musicologica Norvegica 39, no. 01 (2013): 63–91. http://dx.doi.org/10.18261/issn1504-2960-2013-01-04.

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Fairley, Jan. "Cuba Represent: Cuban Arts, State Power, and the Making of New Revolutionary Cultures. By Sujatha Fernandes. Duke University Press, 2006. 218 pp. ISBN-13: 978-0-8223-3859-8 - Sounding Salsa, Performing Latin Music in New York City. By Christopher Washburne. Temple University Press, 2008, 254 pp. ISBN-13: 978-1-59213-315-4 - From Afro-Cuban Rhythms to Latin Jazz. By Raúl Fernandez. University of California Press. 199 pp. ISBN-13: 978-0-520-24707-9." Popular Music 28, no. 2 (2009): 272–76. http://dx.doi.org/10.1017/s0261143009001883.

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"From Afro-Cuban rhythms to Latin jazz." Choice Reviews Online 44, no. 04 (2006): 44–2028. http://dx.doi.org/10.5860/choice.44-2028.

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Dissertations / Theses on the topic "Afro-cuban jazz"

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Miller, Nathan Brad. "Mario Bauza swing era novelty and Afro-Cuban authenticity /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4978.

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Thesis (M.A.)--University of Missouri-Columbia, 2007.<br>The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on April 1, 2008) Includes bibliographical references.
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Truly, Donald Brooks. "The Afro-Cuban Abakuá: Rhythmic Origins to Modern Applications." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/219.

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The objective of this doctoral essay is to help shed some light on the Afro-Cuban musical style called the Abakuá. This essay traces the development of the Abakuá secret society and its music from its ancestral beginnings in Africa (with the Èfik and Efut Leopard Societies), through its movement into Cuba and the development of the first lodge (in the eighteen hundreds), to its eventual influence in America. This essay also describes the impact the Abakuá has had on music in general, but especially the music of the Cuban Rumba and Afro-Cuban jazz. Detail is given on many different aspects of the Abakuá, including the history, beliefs, and practices of the secret society, the types of ceremonies, the types of drums and rhythms associated with each ceremony, including their purpose, and the influences of Abakuá on rumba and modern music. The essay concludes with an assessment of the development of the drum set and how this instrument has played a part in the music of the Abakuá as well as Afro-Cuban jazz in general. While this essay covers many elements, the focus remains on the drums and rhythms of the Abakuá and how they have influenced others and evolved throughout this process.
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David, Sergio Lyra 1963. "O jazz latino de Eddie Palmieri : identidade e diálogo." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285236.

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Orientadores: Marcelo Gimenes, Antônio Rafael Carvalho dos Santos<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-26T01:25:57Z (GMT). No. of bitstreams: 2 David_SergioLyra_M.pdf: 8364116 bytes, checksum: 20771953a548d1e1463fccad33ec3981 (MD5) David_SergioLyra_M_Anexo.zip: 134326893 bytes, checksum: 617b105c2880f4486756e9f19ce5c3b4 (MD5) Previous issue date: 2014<br>Resumo: Esta pesquisa tem como objetivo investigar aspectos da construção do latin jazz de Eddie Palmieri. Para tal propõe descrever suas características como estilo musical: estruturação musical, relações com o jazz e com a música afro-cubana, elementos culturais e sociais. Um estudo mais detalhado enfocou a música "Palmas" procurando descrever o procedimento de Palmieri na manipulação de duas linguagens musicais, o jazz e o afro-cubano. Um estudo preliminar sobre a organização rítmica na tradição musical africana foi realizado para melhor compreensão da estrutura rítmica do objeto analisado. Eddie Palmieri é pianista, compositor e arranjador. Com mais de 50 anos atuando no cenário da música latina traz em sua obra uma característica peculiar, o uso do idioma jazzístico num diálogo intenso com elementos rítmicos da música afro-cubana. Este trabalho demonstra como Eddie Palmieri manipula essas linguagens descrevendo seu estilo através da análise de áudios e partituras<br>Abstract: This research aims to investigate aspects of the construction of latin jazz of Eddie Palmieri. For this proposes to describe his characteristics as a musical style: musical structure, relationships with jazz and the afro-cuban music, cultural and social elements. A more detailed study focused on the song "Palmas" trying to describe Palmieri¿s procedure in handling two musical languages, jazz and afro-cuban. A preliminary study on the rhythmic organization in African musical tradition was conducted to better understand the rhythmic structure of the analyzed object. Eddie Palmieri is a pianist, composer and arranger. With over 50 years working in the latin music scene brings to his work a peculiar feature, using the jazz language in an intense dialogue with rhythmic elements of afro-cuban music. This work demonstrates how Eddie Palmieri handles these languages describing his style by analyzing audio and sheet music<br>Mestrado<br>Fundamentos Teoricos<br>Mestre em Música
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Sweeney, Dwight Paul. "The connectors of two worlds: Chano Pozo, Dizzy Gillespie, and the continuity of myth through Afro-Cuban jazz." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2823.

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Explains how Afro-Cuban culture influenced African-American jazzmen and led to the formation of Afro-Cuban or Latin jazz in 1947 by Dizzy Gillespie and Chano Pozo. Explores the musical connections between the physical plane of Cuba and the United States, and the esoteric spiritual world of the orishas and myths coming to life in sacred and secular music forms.
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Amann, Katja. "Zur Entwicklung der afrokubanischen Musik von den Anfängen des 20. Jahrhunderts bis zum heutigen Revival mit einer annotierten Mediographie für öffentliche Bibliotheken /." [S.l. : s.n.], 2003. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB11675464.

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Books on the topic "Afro-cuban jazz"

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Afro-Cuban jazz. Miller Freeman Books, 2000.

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From Afro-Cuban rhythms to Latin jazz. University of California Press, 2006.

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Fernandez, Raul A. From Afro-Cuban rhythms to Latin jazz. University of California Press, 2006.

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Malabe, Frank. Afro-Cuban rhythms for drumset. Manhattan Music, 1990.

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Trompeta: Chappottín, Chocolate, and the Afro-Cuban trumpet style. Scarecrow Press, 2003.

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Sheldon, Harvey. The history of Afro Cuban Latin American music: Singers, musicians, composers. BookSurge], 2010.

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Leymarie, Isabelle. Cuban fire: Musiques populaires d'expression cubaine. Outre mesure, 1997.

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Cuban fire: The saga of salsa and Latin jazz. Continuum, 2002.

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Yanow, Scott. Afro-cuban Jazz. Diane Pub Co, 2000.

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Afro-Cuban Bass Grooves. Warner Bros Pubns, 1997.

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Book chapters on the topic "Afro-cuban jazz"

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Washburne, Christopher. "Latin Jazz, Afro-Latin Jazz, Afro-Cuban Jazz, Cubop, Caribbean Jazz, Jazz Latin, or Just … Jazz." In Jazz/Not Jazz. University of California Press, 2012. http://dx.doi.org/10.1525/california/9780520271036.003.0006.

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Washburne, Christopher. "Why Call It Latin Jazz? Afro-Latin Jazz, Afro-Cuban Jazz, Cubop, Caribbean Jazz, Jazz Latin, or Just . . . Jazz." In Latin Jazz. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780195371628.003.0002.

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This chapter explores how Latin jazz is positioned and named and the primary discursive contestations associated with the genre. What is focused on in particular is how musicians exert agency by manipulating generic boundaries as a negotiative tool. With a focus on two prominent bandleaders as case studies, Arturo O’Farrill and Ray Barretto, discursive strategies embodying a complex of subjectivities are explored and serve as a lens into the fundamental political undergirding of intercultural production. What becomes apparent is that self-conceived notions held by musicians concerning how to label and perform this music prove to be neither static nor terminal in nature but rather must be imagined as mobile, fluid, and changeable, always strategic, and at times even seeming fickle. What is revealed is the pendular, self-positioning discourse that makers of this music engage in, in order to navigate through and strategically position themselves within this at times adversarial milieu. The politics of place, nation, class, economics, and race as well as the complex historical relationships inform their fluid dance of genre imaginings.
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Fernandez, Raul A. "Drumming in Cuban." In From Afro-Cuban Rhythms to Latin Jazz. University of California Press, 2006. http://dx.doi.org/10.1525/california/9780520247079.003.0006.

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"Five. Drumming in Cuban." In From Afro-Cuban Rhythms to Latin Jazz. University of California Press, 2019. http://dx.doi.org/10.1525/9780520939448-006.

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"5. Latin Jazz, Afro- Latin Jazz, Afro- Cuban Jazz, Cubop, Ca rib be an Jazz, Jazz Latin, or Just . . . Jazz: The Politics of Locating an Intercultural Music." In Jazz/Not Jazz. University of California Press, 2019. http://dx.doi.org/10.1525/9780520951358-008.

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Fernandez, Raul A. "The Salsa Concept." In From Afro-Cuban Rhythms to Latin Jazz. University of California Press, 2006. http://dx.doi.org/10.1525/california/9780520247079.003.0002.

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Fernandez, Raul A. "Ontology of the Son." In From Afro-Cuban Rhythms to Latin Jazz. University of California Press, 2006. http://dx.doi.org/10.1525/california/9780520247079.003.0003.

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Fernandez, Raul A. "The Aesthetics of Sabor." In From Afro-Cuban Rhythms to Latin Jazz. University of California Press, 2006. http://dx.doi.org/10.1525/california/9780520247079.003.0004.

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Fernandez, Raul A. "Magic Mixture." In From Afro-Cuban Rhythms to Latin Jazz. University of California Press, 2006. http://dx.doi.org/10.1525/california/9780520247079.003.0005.

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Fernandez, Raul A. "Lords of the Tambor." In From Afro-Cuban Rhythms to Latin Jazz. University of California Press, 2006. http://dx.doi.org/10.1525/california/9780520247079.003.0007.

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