List of Figures |
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ix | |
List of Tables |
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xii | |
List of Listening Guides |
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xiii | |
Series Foreword |
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xvi | |
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Acknowledgments |
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xviii | |
How to Use This Book: A Note to Instructors |
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xix | |
Part I Caribbean Music and Caribbean History |
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1 | (94) |
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3 | (20) |
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The Three Cultures (or Two Cultures?) in Caribbean Music |
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5 | (3) |
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Bi-Musicality in Caribbean Music |
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8 | (1) |
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The Limits of Three Cultures |
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8 | (3) |
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Creolization and Convergence |
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11 | (1) |
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12 | (1) |
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13 | (1) |
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14 | (1) |
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15 | (7) |
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22 | (1) |
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23 | (15) |
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Taino Cultural Legacies: Music |
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24 | (2) |
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Taino Cultural Legacies: Dance |
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26 | (2) |
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Indigenous People in the Caribbean Today |
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28 | (3) |
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31 | (2) |
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33 | (1) |
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34 | (1) |
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34 | (3) |
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37 | (1) |
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Links for Further Exploration |
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37 | (1) |
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3 European Music and Caribbean Traditions |
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38 | (28) |
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Europeans in the Caribbean |
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38 | (2) |
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Localizing European Traditions |
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40 | (9) |
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49 | (8) |
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57 | (2) |
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59 | (2) |
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61 | (1) |
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61 | (4) |
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65 | (1) |
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4 African Musical Legacies |
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66 | (29) |
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66 | (8) |
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74 | (2) |
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76 | (3) |
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79 | (4) |
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83 | (2) |
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85 | (1) |
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86 | (1) |
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87 | (5) |
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92 | (3) |
Part II Music and Dance in Caribbean Societies: Embodied Culture |
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95 | (72) |
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5 Sacred Music, Dance, and Race: Dominican Palos and Cuban Santerfa |
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97 | (26) |
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Race in the Dominican Republic and in Cuba |
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98 | (2) |
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Palos Music and Dance in the Dominican Republic |
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100 | (4) |
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Santerfa Music and Dance in Cuba |
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104 | (3) |
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Palos and Santerfa before 1960 |
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107 | (4) |
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Palos and Santerfa after 1960 |
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111 | (3) |
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114 | (1) |
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115 | (1) |
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115 | (7) |
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122 | (1) |
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6 Dance Music, Gender, and Marginality: Dominican Bachata and Jamaican Dancehall |
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123 | (21) |
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Gender and Marginality in the Dominican Republic and Jamaica |
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124 | (3) |
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Bachata Music and Dance in the Dominican Republic |
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127 | (2) |
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129 | (1) |
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Bachata and Dancehall before the 1980s |
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130 | (4) |
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Bachata and Dancehall during and after the 1980s |
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134 | (6) |
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140 | (1) |
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140 | (1) |
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141 | (2) |
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143 | (1) |
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7 Dance Music, Race, and Nation: A Tale of Many Merengues |
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144 | (23) |
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What Was Early Mereng(ue)? |
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145 | (4) |
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Mereng(ue) on Quisqueya/Ayiti in the Nineteenth Century |
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149 | (1) |
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Mereng(ue) and Resistance |
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150 | (2) |
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Mereng(ue), Dictatorship, and Its Aftermath |
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152 | (3) |
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155 | (5) |
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The USA in/and the Caribbean: Neo- and Postcolonialism on Quisqueya/Ayiti |
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160 | (2) |
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162 | (1) |
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163 | (1) |
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164 | (1) |
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165 | (2) |
Part III Focusing In: The Social Lives of Musical Instruments in Merengue Tipico |
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167 | (79) |
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169 | (27) |
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Introduction to Organology |
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170 | (1) |
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Representing the Accordion |
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171 | (3) |
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174 | (6) |
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180 | (3) |
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183 | (2) |
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185 | (3) |
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188 | (3) |
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191 | (1) |
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192 | (1) |
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192 | (2) |
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194 | (2) |
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196 | (20) |
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196 | (2) |
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198 | (5) |
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203 | (1) |
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204 | (3) |
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207 | (2) |
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209 | (3) |
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212 | (1) |
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213 | (1) |
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213 | (2) |
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215 | (1) |
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216 | (22) |
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216 | (4) |
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220 | (2) |
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222 | (2) |
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Representation, Race, and Tambora |
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224 | (2) |
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226 | (1) |
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226 | (6) |
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232 | (1) |
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233 | (1) |
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233 | (2) |
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235 | (3) |
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238 | (8) |
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238 | (2) |
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240 | (2) |
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242 | (1) |
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Trinidads Carnival Feminism |
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243 | (1) |
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244 | (1) |
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245 | (1) |
Appendix A: Comparing the Caribbean Ensemble |
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246 | (2) |
Appendix B: Comparing Caribbean Fife-and-Drum Ensembles |
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248 | (2) |
Appendix C: Accordionists' Narratives |
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250 | (5) |
Appendix D: Music/Dance Genres and Ensembles by Country |
|
255 | (2) |
Index |
|
257 | |