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LEADER 03047cam 22004214a 4500

001 ocm48620381;

003 OCoLC;

005 20141212164138.0;

008 011211s2002 njua bk 000 0 eng ;

010 a| 2001056846;

020 a| 1558762817 (alk. paper);

020 a| 1558762825 (pbk. : alk. paper);

035 a| (Sirsi) o48620381;

035 a| (OCoLC)48620381;

040 a| DLCc| DLCd| C#Pd| UtOrBLW;

041 1 a| engh| fre;

042 a| pcc;

049 a| EREM;

050 00 a| ML3486.C8b| R6913 2002;

082 00 a| 780/.972912| 21;

100 1 a| Roy, Maya.=| ^A525888;

240 10 a| Musiques cubaines.l| English=| ^A624531;

245 10 a| Cuban music :b| from son and rumba to the Buena Vista Social Club and timba cubana /c| Maya Roy ; translated by Denise Asfar and Gabriel Asfar.;

300 a| ix, 246 pages :b| illustrations ;c| 24 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

504 a| Includes bibliographical references (pages 205-210) and discography (pages 211-237).;

505 0 a| Ritual music -- Comparsas and congas: the "carnival" celebrations -- The rumba -- Punto and tonadas of the rural regions -- The danzón: prehistory and posterity from the quadrille to the cha-cha-cha -- Song: trova, boléro, feeling -- The son -- Music since the revolution -- By way of a provisional epilogue: Buena Vista Social Club or timba cubana?;

520 a| Native Americans supplied the maracas. African slaves brought drums and ritual music, and Spaniards brought guitars, brass instruments, and clarinets along with European ballroom dancing. The advent of blues and jazz gave new forms to styles of songs, notably feeling songs, which joined the more traditional styles of trova and bolero. Cuban culture represents a convergence of these diverse backgrounds, and the musical heritage presented in this book reflects these traditions as well. In colonial times, African ritual sounds mixed with Catholic liturgies and brass bands of the Spanish military academies. Ballroom dances, including French music from Haiti popular in 18th-century Havana society, existed side by side with the cabildos (guilds and carnival clubs) and the plantations. The son, considered the expression of Cuban musical identity, had its origins in a rural setting in which African slaves and small farmers from Andalusia worked and played music together, developing many variations over the years, including big band music. Cuban music is now experiencing a major renaissance, and is enjoyed throughout the world.;

650 0 a| Popular musicz| Cubax| History and criticism.=| ^A200316;

994 a| X0b| ERE;

910 a| PromptCat;

980 a| 2002-10-16b| 22.95d| 1.42e| 21.81f| 95351;

596 a| 3;

998 a| 891341;

999 a| ML3486.C8 R6913 2002w| LCc| 1i| 30372012001845d| 5/2/2018e| 4/8/2018f| 4/11/2024g| 4l| MSTm| JMUSICn| 18p| $21.81q| 3r| Ys| Yt| MGESBKu| 11/4/2002x| BOOKz| MCIRCo| .STAFF. enhanced 9/15/23 -jjab;

Cuban music : from son and rumba to the Buena Vista Social Club and timba cubana / Maya Roy ; translated by Denise Asfar and Gabriel Asfar.

Author/creator	Roy, Maya
Format	Book
Publication Info	Princeton, NJ : Markus Wiener Publishers ; London : Latin American Bureau, ©2002.
Description	ix, 246 pages : illustrations ; 24 cm
Subjects	Popular music--Cuba. --History and criticism.

Uniform title	Musiques cubaines. English
Contents	Ritual music -- Comparsas and congas: the "carnival" celebrations -- The rumba -- Punto and tonadas of the rural regions -- The danzón: prehistory and posterity from the quadrille to the cha-cha-cha -- Song: trova, boléro, feeling -- The son -- Music since the revolution -- By way of a provisional epilogue: Buena Vista Social Club or timba cubana?
Abstract	Native Americans supplied the maracas. African slaves brought drums and ritual music, and Spaniards brought guitars, brass instruments, and clarinets along with European ballroom dancing. The advent of blues and jazz gave new forms to styles of songs, notably feeling songs, which joined the more traditional styles of trova and bolero. Cuban culture represents a convergence of these diverse backgrounds, and the musical heritage presented in this book reflects these traditions as well. In colonial times, African ritual sounds mixed with Catholic liturgies and brass bands of the Spanish military academies. Ballroom dances, including French music from Haiti popular in 18th-century Havana society, existed side by side with the cabildos (guilds and carnival clubs) and the plantations. The son, considered the expression of Cuban musical identity, had its origins in a rural setting in which African slaves and small farmers from Andalusia worked and played music together, developing many variations over the years, including big band music. Cuban music is now experiencing a major renaissance, and is enjoyed throughout the world.
Bibliography note	Includes bibliographical references (pages 205-210) and discography (pages 211-237).
LCCN	2001056846
ISBN	1558762817 (alk. paper)
ISBN	1558762825 (pbk. : alk. paper)

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Library	Location	Call Number	Status	Item Actions
Music	Music Stacks	ML3486.C8 R6913 2002	✔ Available	Place Hold

Cuban music : from son and rumba to the Buena Vista Social Club and timba cubana / Maya Roy ; translated by Denise Asfar and Gabriel Asfar.

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