Relevant bibliographies by topics / Musicalia (Havana, Cuba)

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Academic literature on the topic 'Musicalia (Havana, Cuba)'

Author: Grafiati
Published: 27 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Musicalia (Havana, Cuba)"

1

STORHOFF, TIMOTHY. "Music, Politics, and the Liminality of the Havana Jazz Plaza Festival in the Obama Era." Journal of the Society for American Music 14, no. 1 (2020): 70–91. http://dx.doi.org/10.1017/s1752196319000555.

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AbstractAfter the Obama administration (2009–17) began authorizing musical exchanges with Cuba in 2009, Havana's music festivals became a primary site for transnational interactions and a public face for US-Cuban engagement while politicians worked towards normalization in secret. This article uses field research from the Havana International Jazz Festival, interviews with festival participants, and media coverage to explore Cuban music festivals as politically liminal spaces where musical and political life commingled to reflect the changing US-Cuban relationship. While diverse lineups attrac
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2

BØHLER, KJETIL KLETTE. "The Political Force of Musical Actants: Grooves, Pleasures, and Politics in Havana D'Primera's ‘Pasaporte’ Live in Havana." Twentieth-Century Music 18, no. 2 (2021): 185–222. http://dx.doi.org/10.1017/s1478572220000614.

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AbstractDrawing upon Rancière's argument that aesthetics instigates politics, Latour's rethinking of agency as relational, and Ortiz's work on Afro-Cuban music aesthetics, this article explores how the experience of aesthetic pleasure in Cuban timba grooves makes politics audible and affective in novel ways. Through a combination of ethnographic and musical analyses of Havana D'Primera's performance of ‘Pasaporte’ live at Casa de la Música in 2010, it unpacks the political affordances of call-and-response singing and polyrhythmic timba grooves among participating listeners in Havana. In contra
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3

Duverger, Nairin Rodríguez, Yamira Rodríguez Núñez, and Zeidy Bornacelli García. "The Artistic Legacy of Dinorah Valdés Pérez: Career and Influence on Cuban Music Pedagogy." Revista de Gestão Social e Ambiental 19, no. 5 (2025): e012147. https://doi.org/10.24857/rgsa.v19n5-029.

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Objective: This study investigated the life and work of Dinorah Eumelia Valdés Pérez, a prominent Cuban musicologist and educator, focusing on her influence on music education in Cuba and her legacy in shaping multiple generations of musicians and musicologists. Theoretical Framework: The research is based on a biographical-narrative and historical-logical approach, exploring her professional dynamics, career in Havana's music schools, and the influences that shaped her career. It highlights her unique educational methodologies and her ability to inspire and guide her students, leaving a lasti
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Kane, Brian. "The Radio Free Dixie Playlists." Resonance 1, no. 4 (2020): 344–70. http://dx.doi.org/10.1525/res.2020.1.4.344.

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Broadcast from Havana, Cuba, but intended for audiences in the United States, Radio Free Dixie was the work of the civil rights leader Robert F. Williams. Airing from 1962 until 1966, the program carefully used music, news, and commentary to convey a militant message of armed self-defense and a critique of American imperialism and racism. While most scholars have focused on William’s spoken commentaries, this article aims to reconsider the role of music on Radio Free Dixie. By examining playlists transcribed and identified from archival broadcasts held at the Bentley Historical Library of the
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Tomé, Patricia. "Cuba Hunger Force." Petits Propos Culinaires, October 1, 2014, 62–75. http://dx.doi.org/10.1558/ppc.28391.

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The article examines the role of food fantasy -- induced by scarcity and hunger -- in the 1998 novel by Daína Chaviano -- part of a series entitled The Hidden Havana--El hombre, la hembra y el hambre (The Man, the Female, and the Hunger) which won the prestigious Azorín prize that same year partly due to its personal recounting of a heroic young Cuban woman who – unlike the author herself who fled Cuba in – must live on the island at the cusp of the most pervasive national scarcity since the triumph of the socialist Revolution: the nineties. With a plot meant to awaken the sexual and culinary
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6

Escher, Cornelia. "Performing Tropicality: The Tropicana Cabaret in Havana." Journal of Urban History, December 13, 2019, 009614421989368. http://dx.doi.org/10.1177/0096144219893681.

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The Tropicana cabaret was one of the most famous sites of Cuban nightlife in the 1940s and 1950s. Located in the residential district of Havana, it brought a new type of venue to the city famous for its musical culture and nightlife. The promotion of the club was professionalized in the early 1950s, by means of a spectacular new building and the development of a corporate design. Although the club flourished mostly, thanks to tourists from the United States and the money they lost on gambling, the networks of its architectural, musical, and performative program go beyond an U.S. American influ
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7

Allatson, Paul. "The Virtualization of Elián González." M/C Journal 7, no. 5 (2004). http://dx.doi.org/10.5204/mcj.2449.

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For seven months in 1999/2000, six-year old Cuban Elián González was embroiled in a family feud plotted along rival national and ideological lines, and relayed televisually as soap opera across the planet. In Miami, apparitions of the Virgin Mary were reported after Elián’s arrival; adherents of Afro-Cuban santería similarly regarded Elián as divinely touched. In Cuba, Elián’s “kidnapping” briefly reinvigorated a torpid revolutionary project. He was hailed by Fidel Castro as the symbolic descendant of José Martí and Che Guevara, and of the patriotic rigour they embodied. Cubans massed to deman
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8

Luigi Alini. "Architecture between heteronomy and self-generation." TECHNE - Journal of Technology for Architecture and Environment, May 25, 2021, 21–32. http://dx.doi.org/10.36253/techne-10977.

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Introduction
 «I have never worked in the technocratic exaltation, solving a constructive problem and that’s it. I’ve always tried to interpret the space of human life» (Vittorio Garatti).
 Vittorio Garatti (Milan, April 6, 1927) is certainly one of the last witnesses of one “heroic” season of Italian architecture. In 1957 he graduated in architecture from the Polytechnic of Milan with a thesis proposing the redesign of a portion of the historic centre of Milan: the area between “piazza della Scala”, “via Broletto”, “via Filodrammatici” and the gardens of the former Olivetti building
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Books on the topic "Musicalia (Havana, Cuba)"

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Pichaco, Belén Vega. Ni la lira, ni el bongó...: La construcción de la Música Nueva en Cuba desde la órbita de Musicalia (1927-1946). Editorial Comares, 2021.

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2

Villalón, Célida Parera. Historia de la Sociedad Pro-Arte Musical de La Habana. Senda Nueva de Ediciones, 1990.

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3

La Revista Pro-Arte Musical en su primera epoca (1923-1940). Ediciones Extramuros, 2016.

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4

Hale, Randy, and James Burton Yockey. Havana time machine: A musical journey through Cuba. 2017.

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5

Storhoff, Timothy P. Harmony and Normalization. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830876.001.0001.

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Harmony and Normalization explores cultural relations between Cuba and the United States during the Presidency of Barack Obama, who restored diplomatic relations with the island. Musical exchanges during this period act as a lens through which to view not only US-Cuban musical relations but also the larger political, economic, and cultural implications of musical dialogue between these two nations. Policy shifts allowed US and Cuban performers to more easily traverse the Florida Straits than in the recent past and encouraged them to act as musical diplomats, and their performances served as a
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6

Dubinsky, Karen, Maria Carida Cumana, and Xenia Beloba de la Cruz. My Havana: The Musical City of Carlos Varela. University of Toronto Press, 2014.

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7

Dubinsky, Karen, Xenia Reloba de la Cruz, and Maria Carida Cumana. My Havana: The Musical City of Carlos Varela. University of Toronto Press, 2018.

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My Havana: The Musical City of Carlos Varela. University of Toronto Press, 2014.

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Book chapters on the topic "Musicalia (Havana, Cuba)"

1

Wilks, Jennifer M. "“The Queen of Havana”." In Carmen in Diaspora. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197566145.003.0006.

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Abstract Drawing on performance ethnography, cultural history, and critical reception, Chapter 5 examines how the musical play Carmen la Cubana—conceived by British director Christopher Renshaw and written by Renshaw, Cuban playwright Norge Espinosa Mendoza, and British dramatist Stephen Clark—adapts Prosper Mérimée, Georges Bizet, and Oscar Hammerstein while celebrating Cuban culture and contending with its racial entanglements. From the outset, the musical reverses the cultural hierarchies of its French predecessors, with Afro-Caribbean music and spirituality taking center stage and European
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Quevedo, Marysol. "Institutionalization and Fissures in the Cuban Classical Music Landscape." In Cuban Music Counterpoints. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197552230.003.0005.

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Abstract This chapter focuses on several musical events in the 1970s that reflects artists’ struggles to adapt to the shifting political and cultural landscape in Cuba. It opens with a discussion of Roberto Valera’s Devenir and Harold Gramatges’s La muerte del guerrillero, both premiered by the Orquesta Sinfónica Nacional de Cuba in 1970. Increasing political and economic pressures—on Havana from Moscow and, consequently, from Havana to all intranational cultural institutions—placed multiple and sometimes competing demands on artists. There was also a proliferation of festivals, encuentros, an
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Storhoff, Timothy P. "Jazz as Intercultural Dialogue at the Havana Jazz Plaza Festival." In Harmony and Normalization. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830876.003.0004.

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Chapter Four consists of an in-depth analysis of jazz in US-Cuban musical exchange along with an ethnographic description of Havana’s International Jazz Plaza Festival. Cuba’s relationship to jazz became complicated after the revolution. Performers on the island had to carefully negotiate their desire to play jazz with the Castro government’s descriptions of jazz as imperialist music. The 2012 Havana Jazz Plaza Festival and the US musicians who played at the event are analyzed in-depth to show how participants navigated US-Cuban relations to perform in a festival that uses jazz as a form of in
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Storhoff, Timothy P. "2016 and the Sounds of Normalization." In Harmony and Normalization. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830876.003.0006.

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The final chapter focuses on official and unofficial cultural diplomacy efforts that have been organized to celebrate the United States and Cuba restoring diplomatic relations. Spring 2016 included a visit to Cuba by Barack Obama and free concerts by Major Lazer and the Rolling Stones in Havana. The following month, the President’s Committee on the Arts and Humanities led a delegation to Havana with various federal agencies represented. Unofficial musical diplomacy initiatives continued as well, such as a trip with Musicians Across the Straits, a program that brought performers from St. August
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Miller, Sue. "Los Tres Grandes." In Improvising Sabor. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496832153.003.0003.

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This chapter examines the different manifestations of mambo in Havana and New York to demonstrate the musical connections between the big bands, son conjuntos, and charangas across three decades of regular Cuban dance music performance. The Palladium, in addition to the music venues in the Bronx, provided various opportunities for New York-based musicians to create their own versions of Cuban dance music. Recordings by mambo big bands are analyzed alongside Arsenio Rodríguez’s mambo diablos and Antonio Arcaño’s charanga composition “Mambo” to outline the historic connections between these form
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Njoroge, Njoroge. "“Cosa Nuestra”." In Chocolate Surrealism. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496806895.003.0005.

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This chapter explores the history of Salsa in New York City. In the late 1960’s Salsa became the vehicle for the cultural expressions of community, aesthetics, and identity for the Puerto Ricans, Nuyoricans, and other Latinos. Salsa was a musical celebration and valorization of Nuyorican identity and became the voice of the alienated and disenfranchised barrio youth in New York City and beyond. Though in the main, its practitioners heralded from the Puerto Rican diaspora: from its very inception “salsa” has been a pan-Caribbean creation. With the Cuban Revolution, the subsequent recording ban
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