From Contradanza to Son: New Perspectives on the Prehistory of Cuban Popular Music

  title={From Contradanza to Son: New Perspectives on the Prehistory of Cuban Popular Music},
  author={Peter Lamarche Manuel},
  journal={Latin American Music Review},
  pages={184 - 212}
  • P. Manuel
  • Published 6 March 2010
  • Art
  • Latin American Music Review
While it is often claimed that the Cuban son emerged from rural Oriente and "invaded" Havana in the early 20th century, serious Cuban musicologists have clarified that the true consolidation of the genre took place in Havana after around 1910–1920. Examination of 19th-century sources can help us trace with greater specificity the origins of the particular musical features that distinguished the traditional son. Editions and descriptions of 1850s–1860s Havana contradanzas illuminate much about… 

The Andean Conjunto, Bolivian Sikureada and the Folkloric Musical Representation Continuum

The Andean conjunto and Bolivian sikureada are two vastly different folkloric representations of the Southern Andean tropa (indigenous wind consort). This article examines the extent to which these

Groove in Cuban Dance Music: An Analysis of Son and Salsa

The rhythmic feel or 'groove' of Cuban dance music is typically characterised by a dynamic rhythmic energy, drive and sense of forward motion that, for those attuned, has the ability to produce

Performance guide to the songs of Eduardo Sanchez de Fuentes

of a doctoral essay at the University of Miami. Doctoral essay supervised by Dr. Esther Jane Hardenbergh No. of pages in text. (136) The purpose of this study is to provide teachers, students,



Mode, Melody, and Harmony in Traditional Afro-Cuban Music: From Africa to Cuba.

Afro-Cuban traditional music constitutes one of the richest musical heritages of the Americas and has received a commensurate amount of scholarly attention. Published research on Afro-Cuban music has

Nationalizing Blackness : afrocubanismo and artistic revolution in Havana, 1920-1935

"Nationalizing Blackness" uses the music of the 1920s and 1930s to examine Cuban society as it begins to embrace Afrocuban culture. Moore examines the public debate over degenerate Africanisms

Cuba and Its Music: From the First Drums to the Mambo

Preface Introduction: Ride the High Country or "They Went Thataway" Cowboy Codes: Straight & Pure & All Boy When We were Young: Nostalgia & the Cowboy Hero Arms & the Man: The Friendly Gun Give Me My

Creolizing Contradance in the Caribbean

1. Introduction: Contradance and Quadrille Culture in the Caribbean 2. Cuba: From Contradanza to Danzon 3. Puerto Rico: The Rise and Fall of the Danza as National Music 4. The Dominican Republic:

Cuba, or, The pursuit of freedom

Prologue With Albemarle to Havana, 1762 * The English Expedition * The Spanish Colony * Sugar and Society * The Victors and the Creoles The Great Leap Forward, 1763-1825 * Enter North America * The

Décima and Rumba : Iberian formalism in the heart of Afro-Cuban song

La decima, terme hispanique qui designe un couplet d'octosyllabes, est utilisee majoritairement dans la litterature coloniale et post-coloniale des poetes et des paysans blancs de Cuba mais aussi

El Son, Exclusividad de Cuba

El son: ¿Ritmo, baile o refl ejo de la personalidad cultural Cubana?

  • Liner notes to Antología integral del son
  • 1984

Anuario Interamericano de Investigación Musical

  • 1975

Cuba: From Contradanza to Danzon