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Artículos de revistas sobre el tema "Music, puerto rican"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 27 de enero de 2023

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1

Espada-Brignoni, Teófilo, and Frances Ruiz-Alfaro. "Culture, Subjectivity, and Music in Puerto Rico." International Perspectives in Psychology 10, no. 1 (2021): 3–12. http://dx.doi.org/10.1027/2157-3891/a000001.

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Abstract. Understanding human phenomena requires an in-depth analysis of the interconnectedness that arises from a particular culture and its history. Subjectivity as well as a collective subjectivity emerges from human productions such as language and art in a specific time and place. In this article, we explore the role of African-based popular music genres such as bomba and plena as ways of negotiating narratives about Puerto Rican society. Popular music encompasses diverse meanings. Puerto Rican folk music’s subjectivity provides narratives that distance Puerto Ricans from an individualist

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2

Padilla, Felix M. "Salsa: Puerto Rican and Latino music." Journal of Popular Culture 24, no. 1 (1990): 87–104. http://dx.doi.org/10.1111/j.0022-3840.1990.00087.x.

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3

Gates, Stephanie. "Danza and the Signifying Process in Rosario Ferré’s Maldito amor." Latin American Literary Review 46, no. 92 (2019): 59–65. http://dx.doi.org/10.26824/lalr.122.

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Rosario Ferré’s 1986 novella Maldito amor takes its name from a famous Puerto Rican danza written toward the end of the 19th century by composer Juan Morel Campos, who had both African and Spanish heritage. This article explores the tradition of the danza, the significance of Ferré’s use and mirroring of Morel Campos’s danza in the narrative, as well as the signifying process she explores and manipulates in an effort to question official versions of Puerto Rican history. By using the composer’s danza as a subtext for the structure and themes of the novel, Maldito amor creates another set of si

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4

Colón-Montijo, César. "Her Name Was Doña Margot." Small Axe: A Caribbean Journal of Criticism 25, no. 2 (2021): 36–49. http://dx.doi.org/10.1215/07990537-9384198.

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Margarita “Doña Margot” Rivera García (1909–2000) was a black working-class Puerto Rican woman whose labor as a composer, healer, midwife, and spiritual medium made her an esteemed community leader among her neighbors from Santurce, a predominantly black enclave in San Juan. Through her bomba and plena compositions, she helped forge modern black Puerto Rican music amid the rapid industrialization of Puerto Rico after the 1950s. However, her story has been overshadowed by the aura of her son, the legendary Afro–Puerto Rican singer Ismael “Maelo” Rivera (1931–87). Although Doña Margot is praised

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5

Schramm, Adelaida Reyes, and Ted Solis. "Puerto Rican Music in Hawai'i. Kachi-kachi." Yearbook for Traditional Music 24 (1992): 177. http://dx.doi.org/10.2307/768499.

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6

Sommers, Laurie Kay, and Ted Solis. "Kachi-Kachi, Puerto Rican Music in Hawai'i." Latin American Music Review / Revista de Música Latinoamericana 13, no. 1 (1992): 130. http://dx.doi.org/10.2307/780066.

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7

Howard, Karen. "Puerto Rican Plena: The Power of a Song." General Music Today 32, no. 2 (2018): 36–39. http://dx.doi.org/10.1177/1048371318809971.

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In order to bring music of Puerto Rico to the general music classroom, it is important to understand the sociocultural and sociohistorical context of the music. The traditional genre of plena shares cultural threads with West Africa, Spain, and indigenous (Taíno) culture. Commonly known as El Periodico Cantado (the singing newspaper), plena songs give updates on what people are feeling and current events effecting the community. The plena song Que Bonita Bandera (What a Beautiful Flag) is explored for its potential uses in elementary and secondary general music classes.

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8

Powell, Derrek. "Yo soy de p fkn r." Borealis – An International Journal of Hispanic Linguistics 11, no. 2 (2022): 7–40. http://dx.doi.org/10.7557/1.11.2.6411.

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Based in a sociophonetic analysis of lyrics performed by eight male Reggaeton artists of Puerto Rican origin, this study combines raciolinguistic and variationist frameworks to examine the frequency of occurrence and underlying linguistic, musicological, and poetic factors conditioning the distribution of the lateral variant of syllable- and word-final alveolar tap /ɾ/. Given that this trait is regarded as a distinctive characteristic of Puerto Rican Spanish capable of indexing in-group membership alongside positive assessments of Puerto Rican national identity, the study explores the implemen

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9

de Arce, Daniel Mendoza. "Domingo Delgado Gomez (1806-56): Puerto Rican Master Composer." Latin American Music Review / Revista de Música Latinoamericana 16, no. 2 (1995): 154. http://dx.doi.org/10.2307/780371.

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10

Dudley, Shannon, and Frances Aparicio. "Listening to Salsa: Gender, Latin Popular Music, and Puerto Rican Cultures." Yearbook for Traditional Music 31 (1999): 156. http://dx.doi.org/10.2307/767997.

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11

Duany, Jorge, Jeremy Marre, Hannah Charlton, Pedro A. Rivera, Susan Zeig, and A. G. Quintero Rivera. ""Salsa," "Plena," and "Danza": Recent Materials on Puerto Rican Popular Music." Latin American Music Review / Revista de Música Latinoamericana 11, no. 2 (1990): 286. http://dx.doi.org/10.2307/780128.

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12

Waxer, Lise, and Frances R. Aparicio. "Listening to Salsa: Gender, Latin Popular Music, and Puerto Rican Cultures." Latin American Music Review / Revista de Música Latinoamericana 20, no. 1 (1999): 148. http://dx.doi.org/10.2307/780169.

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13

KITLV, Redactie. "Book Reviews." New West Indian Guide / Nieuwe West-Indische Gids 80, no. 1-2 (2006): 105–58. http://dx.doi.org/10.1163/22134360-90002492.

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Maximilian C. Forte; Ruins of Absence, Presence of Caribs: (Post)Colonial Representations of Aboriginality in Trinidad and Tobago (Neil L. Whitehead)Nick Nesbitt; Voicing Memory: History and Subjectivity in French Caribbean Literature (H. Adlai Murdoch)Camilla Stevens; Family and Identity in Contemporary Cuban and Puerto Rican Drama (Lydia Platón)Jonathan Goldberg; Tempest in the Caribbean (Jerry Brotton)Michael Chanan; Cuban Cinema (Tamara L. Falicov)Gemma Tang Nain, Barbara Bailey (eds.); Gender Equality in the Caribbean: Reality or Illusion (A. Lynn Bolles)Ernesto Sagás, Sintia E. Molina (e

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14

KITLV, Redactie. "Book Reviews." New West Indian Guide / Nieuwe West-Indische Gids 80, no. 1-2 (2008): 105–58. http://dx.doi.org/10.1163/13822373-90002492.

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Maximilian C. Forte; Ruins of Absence, Presence of Caribs: (Post)Colonial Representations of Aboriginality in Trinidad and Tobago (Neil L. Whitehead)Nick Nesbitt; Voicing Memory: History and Subjectivity in French Caribbean Literature (H. Adlai Murdoch)Camilla Stevens; Family and Identity in Contemporary Cuban and Puerto Rican Drama (Lydia Platón)Jonathan Goldberg; Tempest in the Caribbean (Jerry Brotton)Michael Chanan; Cuban Cinema (Tamara L. Falicov)Gemma Tang Nain, Barbara Bailey (eds.); Gender Equality in the Caribbean: Reality or Illusion (A. Lynn Bolles)Ernesto Sagás, Sintia E. Molina (e

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15

Carrasquillo, Rosa Elena. "The great woman singer: gender and voice in Puerto Rican music." Canadian Journal of Latin American and Caribbean Studies / Revue canadienne des études latino-américaines et caraïbes 43, no. 3 (2018): 451–53. http://dx.doi.org/10.1080/08263663.2018.1507973.

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16

Spitta, Silvia. "Listening to Salsa: Gender, Latin Popular Music, and Puerto Rican Cultures." MLN 114, no. 2 (1999): 434–36. http://dx.doi.org/10.1353/mln.1999.0016.

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17

Lee, Summer Kim. "The great woman singer: gender and voice in Puerto Rican music." Women & Performance: a journal of feminist theory 27, no. 3 (2017): 355–58. http://dx.doi.org/10.1080/0740770x.2017.1364943.

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18

Alvarado, Leticia. "The great woman singer: Gender and voice in Puerto Rican music." Latino Studies 16, no. 1 (2018): 141–43. http://dx.doi.org/10.1057/s41276-017-0109-4.

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19

Berrios-Miranda, Marisol, and Frances R. Aparicio. "Listening to Salsa: Gender, Latin Popular Music, and Puerto Rican Cultures." Ethnomusicology 44, no. 2 (2000): 336. http://dx.doi.org/10.2307/852540.

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20

Guerrero, Paulina. "A Story told through Plena: Claiming Identity and Cultural Autonomy in the Street Festivals of San Juan, Puerto Rico." Island Studies Journal 8, no. 1 (2013): 165–78. http://dx.doi.org/10.24043/isj.282.

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Las Fiestas de la Calle de San Sebastián is a four day-long festival in San Juan, Puerto Rico. While the festival comprises music and dance that is a combination of various Caribbean and Latin American aesthetics, there is a small group of local musicians who insist on staying away from the larger throngs to specifically play a Puerto Rican music medium known as plena. By defining a distinct physical space that is separate from the rest of the festival, but also a part of the festival, they sing throughout the night speaking to contemporary issues of American imperialism, class warfare, and co

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21

Hernández-Banuchi, Alberto. "Gonzalo Núñez, Rubén Darío y el manuscrito Los arcanos de la música." (an)ecdótica 5, no. 1 (2021): 31–59. http://dx.doi.org/10.19130/iifl.anec.2021.5.1.19783.

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We examine the history and circumstance in the life of Puerto Rican composer Gonzalo Núñez (1850-1915) during the period from 1900 to 1903. During his second sojourn in Paris he maintained a close personal relationship with Rubén Darío and Amado Nervo, joined by other poets, writers and artists. An extensive on-site research work, conducted in various European, North American and Caribbean libraries and archives, permitted us to gather documentation about the nomadic life of the musician in Cuba, Mexico, Puerto Rico, Europe and North America. We show that Núñez’s unpublished manuscript Los arc

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22

Goytia Almeda, Iván. "‘Si quiere,’ mi Machete te muerde’: A Multimodal Critical Discourse Analysis of “This is not America” by Residente." Open Journal for Studies in Arts 5, no. 2 (2022): 31–44. http://dx.doi.org/10.32591/coas.ojsa.0502.01031a.

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The social problems of Latin America have been extensively examined in diverse fields and music has become a significant way to inform and interpret these social problems. Residente, a Puerto Rican singer, presents his song “This is Not America” that demonstrates a valuable interpretation of the issues that impact Latin American and its people through the song lyrics and music video. Thus, this paper analyzes the discursive and visual features of the music video for the single ‘This is Not America’ and reports on how Residente interprets the political and social problems in Latin America. Mult

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23

Colón-León, Vimari. "Bomba: The Sound of Puerto Rico’s African Heritage." General Music Today 34, no. 3 (2021): 13–19. http://dx.doi.org/10.1177/1048371321990665.

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Bomba is an emblematic Puerto Rican musical genre that emerged 400 years ago from the colonial plantations where West African slaves and their descendants worked. It remains one of the most popular forms of folk music on the island and serves as significant evidence of its rich African heritage. This article explores the main components of bomba by making them more accessible to those that have not experienced it from an insider’s perspective. The material presented in this article provides a learning sequence that could take the form of several lessons, or even a curricular unit. Transcriptio

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24

López-León, Ricardo, Oswaldo Lorenzo-Quiles, and Anna Rita Addessi. "Music education in Puerto Rican elementary schools: A study from the perspective of music teachers." International Journal of Music Education 33, no. 2 (2014): 146–62. http://dx.doi.org/10.1177/0255761413515811.

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25

Dávila, Verónica. "REVIEW | The Great Woman Singer: Gender and Voice in Puerto Rican Music." IASPM@Journal 8, no. 1 (2018): 140–42. http://dx.doi.org/10.5429/2079-3871(2018)v8i1.12en.

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26

Lawrence La Fountain-Stokes. "Trans/Bolero/Drag/Migration: Music, Cultural Translation, and Diasporic Puerto Rican Theatricalities." WSQ: Women's Studies Quarterly 36, no. 3-4 (2008): 190–209. http://dx.doi.org/10.1353/wsq.0.0118.

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27

Glasser, Ruth. "Paradoxical Ethnicity: Puerto Rican Musicians in Post World War I New York City." Latin American Music Review / Revista de Música Latinoamericana 11, no. 1 (1990): 63. http://dx.doi.org/10.2307/780358.

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28

Hernandez, Deborah Pacini, and Juan Flores. "From Bomba to Hip Hop: Puerto Rican Culture and Latino Identity." Ethnomusicology 46, no. 2 (2002): 334. http://dx.doi.org/10.2307/852787.

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29

Gilsing, Sterre. "Review of The great woman singer: Gender and voice in Puerto Rican music." European Review of Latin American and Caribbean Studies | Revista Europea de Estudios Latinoamericanos y del Caribe, no. 107 (June 3, 2019): 6. http://dx.doi.org/10.32992/erlacs.10494.

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30

Pinckney, Warren R. "Puerto Rican Jazz and the Incorporation of Folk Music: An Analysis of New Musical Directions." Latin American Music Review / Revista de Música Latinoamericana 10, no. 2 (1989): 236. http://dx.doi.org/10.2307/779952.

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31

Alvarado, Lorena. "Review: The Great Woman Singer: Gender and Voice in Puerto Rican Music by Licia Fiol-Matta." Journal of Popular Music Studies 31, no. 4 (2019): 180–82. http://dx.doi.org/10.1525/jpms.2019.31.4.180.

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32

Diaz, Edgardo Diaz. "Puerto Rican Affirmation and Denial of Musical Nationalism: The Cases of Campos Parsi and Aponte Ledee." Latin American Music Review / Revista de Música Latinoamericana 17, no. 1 (1996): 1. http://dx.doi.org/10.2307/780335.

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33

Shaw, Julia T. "“The Music I Was Meant to Sing”." Journal of Research in Music Education 64, no. 1 (2016): 45–70. http://dx.doi.org/10.1177/0022429415627989.

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This article is based on a multiple embedded case study, the purpose of which was to explore adolescent choral students’ perceptions of culturally responsive pedagogy (CRP) in three demographically contrasting choirs of an urban nonprofit children’s choir organization. The case presented here focused on an after-school choir situated in a Puerto Rican enclave, where a multiethnic teacher designed instruction that was responsive to a community with a significant migrant and immigrant Hispanic population. Adolescents perceived their teacher’s culturally responsive practice as honoring their own

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34

Rivera. "New York Afro-Puerto Rican and Afro-Dominican Roots Music: Liberation Mythologies and Overlapping Diasporas." Black Music Research Journal 32, no. 2 (2012): 3. http://dx.doi.org/10.5406/blacmusiresej.32.2.0003.

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35

Thompson, Donald, and Catherine Dower. "Puerto Rican Music following the Spanish-American War: 1898, the Aftermath of the Spanish-American War and Its Influence on the Musical Culture of Puerto Rico." Latin American Music Review / Revista de Música Latinoamericana 6, no. 1 (1985): 112. http://dx.doi.org/10.2307/779971.

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36

Badger, Reid, and Ruth Glasser. "My Music Is My Flag: Puerto Rican Musicians and Their New York Communities, 1917-1940." American Historical Review 101, no. 4 (1996): 1296. http://dx.doi.org/10.2307/2169819.

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37

Averill, Gage, and Ruth Glasser. "My Music Is My Flag: Puerto Rican Musicians and Their New York Communities, 1917-1940." Notes 53, no. 1 (1996): 88. http://dx.doi.org/10.2307/900316.

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38

Moore, Robin, and Ruth Glasser. "My Music is My Flag: Puerto Rican Musicians and Their New York Communities, 1917-1940." Hispanic American Historical Review 76, no. 4 (1996): 761. http://dx.doi.org/10.2307/2517958.

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39

Horn, Maja. "The Great Woman Singer: Gender and Voice in Puerto Rican Music by Licia Fiol-Matta." Revista Hispánica Moderna 74, no. 2 (2021): 255–58. http://dx.doi.org/10.1353/rhm.2021.0026.

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40

Manuel, Peter. "Puerto Rican Music and Cultural Identity: Creative Appropriation of Cuban Sources from Danza to Salsa." Ethnomusicology 38, no. 2 (1994): 249. http://dx.doi.org/10.2307/851740.

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41

Padin, Jose Antonio, and Ruth Glasser. "My Music Is My Flag: Puerto Rican Musicians and Their New York Communities, 1917-1940." Contemporary Sociology 25, no. 1 (1996): 115. http://dx.doi.org/10.2307/2077007.

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42

Rosenberg, Ruth E. "The Great Woman Singer: Gender and Voice in Puerto Rican Music by Licia Fiol-Matta." Notes 76, no. 1 (2019): 132–35. http://dx.doi.org/10.1353/not.2019.0062.

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43

Hajek, Jessica C. "The Great Woman Singer: Gender and Voice in Puerto Rican Music by Licia Fiol-Matta." Women and Music: A Journal of Gender and Culture 23, no. 1 (2019): 212–17. http://dx.doi.org/10.1353/wam.2019.0013.

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44

Moore, Robin. "My Music Is My Flag: Puerto Rican Musicians and Their New York Communities, 1917-1940." Hispanic American Historical Review 76, no. 4 (1996): 761–63. http://dx.doi.org/10.1215/00182168-76.4.761.

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45

Borge, Jason. "The Great Woman Singer: Gender and Voice in Puerto Rican Music by Licia Fiol-Matta." Revista de Estudios Hispánicos 53, no. 3 (2019): 1047–49. http://dx.doi.org/10.1353/rvs.2019.0074.

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46

Solís, Ted. ""You Shake Your Hips Too Much": Diasporic Values and Hawai'i Puerto Rican Dance Culture." Ethnomusicology 49, no. 1 (2005): 75. http://dx.doi.org/10.2307/20174354.

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47

Robinson, Cheri. "Residente’s ‘War’ and the reframing of terror." Studies in Spanish & Latin American Cinemas 17, no. 3 (2020): 331–49. http://dx.doi.org/10.1386/slac_00025_1.

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The music video ‘Guerra’/‘War’ (Pérez Joglar or Residente 2017), directed and sung by the Puerto Rican musician Residente (René Pérez Joglar), features war-scarred landscapes, fleeing refugees, overcrowded camps and eerily idyllic suburban life. The discordant realities challenge viewers’ potential apathy towards ongoing conflicts and refugee crises while the rap lyrics in Spanish, when sung by the listener, conflate the singer with suffering groups, thus placing suffering and terror centre-stage through visuals and lyrics. This article proposes that Residente begins his music video with a nar

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48

Sanchez-Johnsen, Lisa, Amanda Dykema-Engblade, Carlos E. Rosas, et al. "Mexican and Puerto Rican Men’s Preferences Regarding a Healthy Eating, Physical Activity and Body Image Intervention." Nutrients 14, no. 21 (2022): 4634. http://dx.doi.org/10.3390/nu14214634.

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This study examined the logistical, practical, and cultural preferences of Latinos regarding the design of a healthy eating, physical activity, and body image intervention. Puerto Rican and Mexican men (n = 203) completed an interview as part of an NIH-funded study. Overall, 66.5% preferred the intervention to be in Spanish only or both Spanish and English; 88.67% said it was moderately, very or extremely important for the intervention leader to be bilingual; and 66.01% considered it moderately to extremely important for the leader to be Hispanic or Latino. Most participants (83.74%) reported

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49

Orellano Colon, Elsa M., Luna S. Lugo, Ivelisse Rivera Rodríguez, Natalia Valentín Carro, and Nelson Almodovar Arbelo. "3107 Understanding barriers to and facilitators of a healthy lifestyle of Hispanic adults with end stage renal disease in hemodialysis: Intensive Development and Experiences in Advancement of Research and Increased Opportunities (IDEARIO)." Journal of Clinical and Translational Science 3, s1 (2019): 157. http://dx.doi.org/10.1017/cts.2019.360.

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OBJECTIVES/SPECIFIC AIMS: Physical inactivity and mineral imbalances greatly contribute to morbidity and mortality in patients with end-stage renal disease (ESRD). Barriers for engaging in physical activity and adhering to the hemodialysis diet have been reported predominantly with white participants from countries other than Puerto Rico. Therefore, this study’s aims were to explore the barriers and facilitators that Hispanic adults with end-stage renal disease encountered for engaging in physical activity and adhering to the hemodialysis diet. METHODS/STUDY POPULATION: Three focus groups were

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50

Knights, Vanessa. "Listening to Salsa: Gender, Latin Popular Music and Puerto Rican Cultures. By Frances R. Aparicio. Wesleyan University Press, 1998. 311 pp." Popular Music 20, no. 1 (2001): 121–36. http://dx.doi.org/10.1017/s026114300124135x.

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