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Focus: Music of the Caribbean [Pehme köide]

  • Formaat: Paperback / softback, 270 pages, kõrgus x laius: 241x171 mm, kaal: 542 g, 4 Tables, black and white; 17 Line drawings, black and white; 42 Halftones, black and white
  • Sari: Focus on World Music Series
  • Ilmumisaeg: 01-Nov-2019
  • Kirjastus: Routledge
  • ISBN-10: 113809451X
  • ISBN-13: 9781138094512
Teised raamatud teemal:
  • Formaat: Paperback / softback, 270 pages, kõrgus x laius: 241x171 mm, kaal: 542 g, 4 Tables, black and white; 17 Line drawings, black and white; 42 Halftones, black and white
  • Sari: Focus on World Music Series
  • Ilmumisaeg: 01-Nov-2019
  • Kirjastus: Routledge
  • ISBN-10: 113809451X
  • ISBN-13: 9781138094512
Teised raamatud teemal:
Focus: Music of the Caribbean presents the most important issues of Caribbean musical history and current practice, discussing thought-provoking questions in a student-friendly fashion. It uses current ethnomusicological research on Caribbean music to tell the stories of Caribbean historythose of colonialism and neocolonialism, race and nationalism, marginalization and globalizationand to explore that historys continuing impact on the lives, cultures, musics, and dance of modern-day people in the Caribbean and beyond.

In three parts, the text presents an embodied understanding of the sounds, rhythms, and movements that exemplify the history, culture, and politics of Caribbean music:

I. Caribbean Music and Caribbean History establishes a framework for thinking about Caribbean musical history and the roles race and migration play

II. Music and Dance in Caribbean Societies considers how contrasting forms of dance music reconcile competing ideas about Caribbean identities past and present

III. Focusing In: The Social Lives of Musical Instruments in Merengue Típico explores the music of the Dominican Cibao region through a focus of the genres dominant musical instruments

Accessible to all students regardless of musical background, Focus: Music of the Caribbean is bolstered by web resources, including more than sixty detailed listening guides and accompanying playlists, vocabulary lists, and student quizzes. Discussion questions and activities for each chapter are featured in the text.
List of Figures ix
List of Tables xii
List of Listening Guides xiii
Series Foreword xvi
Michael B. Bakan
Acknowledgments xviii
How to Use This Book: A Note to Instructors xix
Part I Caribbean Music and Caribbean History 1(94)
1 Three Cultures
3(20)
The Three Cultures (or Two Cultures?) in Caribbean Music
5(3)
Bi-Musicality in Caribbean Music
8(1)
The Limits of Three Cultures
8(3)
Creolization and Convergence
11(1)
Race in the Caribbean
12(1)
Conclusions
13(1)
Discussion Questions
14(1)
Activities
15(7)
Sources Consulted
22(1)
2 The First Caribbeans
23(15)
Taino Cultural Legacies: Music
24(2)
Taino Cultural Legacies: Dance
26(2)
Indigenous People in the Caribbean Today
28(3)
Taino Revival
31(2)
Conclusions
33(1)
Discussion Questions
34(1)
Activities
34(3)
Sources Consulted
37(1)
Links for Further Exploration
37(1)
3 European Music and Caribbean Traditions
38(28)
Europeans in the Caribbean
38(2)
Localizing European Traditions
40(9)
The Caribbean in Europe
49(8)
Postcolonial Attitudes
57(2)
Conclusions
59(2)
Discussion Questions
61(1)
Activities
61(4)
Sources Consulted
65(1)
4 African Musical Legacies
66(29)
Africa in the Caribbean
66(8)
Remembering Africa
74(2)
Reconfiguring Africa
76(3)
Reimagining Africa
79(4)
The Caribbean in Africa
83(2)
Conclusions
85(1)
Discussion Questions
86(1)
Activities
87(5)
Sources Consulted
92(3)
Part II Music and Dance in Caribbean Societies: Embodied Culture 95(72)
5 Sacred Music, Dance, and Race: Dominican Palos and Cuban Santerfa
97(26)
Race in the Dominican Republic and in Cuba
98(2)
Palos Music and Dance in the Dominican Republic
100(4)
Santerfa Music and Dance in Cuba
104(3)
Palos and Santerfa before 1960
107(4)
Palos and Santerfa after 1960
111(3)
Conclusions
114(1)
Discussion Questions
115(1)
Activities
115(7)
Sources Consulted
122(1)
6 Dance Music, Gender, and Marginality: Dominican Bachata and Jamaican Dancehall
123(21)
Gender and Marginality in the Dominican Republic and Jamaica
124(3)
Bachata Music and Dance in the Dominican Republic
127(2)
Dancehall in Jamaica
129(1)
Bachata and Dancehall before the 1980s
130(4)
Bachata and Dancehall during and after the 1980s
134(6)
Conclusions
140(1)
Discussion Questions
140(1)
Activities
141(2)
Sources Consulted
143(1)
7 Dance Music, Race, and Nation: A Tale of Many Merengues
144(23)
What Was Early Mereng(ue)?
145(4)
Mereng(ue) on Quisqueya/Ayiti in the Nineteenth Century
149(1)
Mereng(ue) and Resistance
150(2)
Mereng(ue), Dictatorship, and Its Aftermath
152(3)
Migrating Mereng(ue)s
155(5)
The USA in/and the Caribbean: Neo- and Postcolonialism on Quisqueya/Ayiti
160(2)
Conclusions
162(1)
Discussion Questions
163(1)
Activities
164(1)
Sources Consulted
165(2)
Part III Focusing In: The Social Lives of Musical Instruments in Merengue Tipico 167(79)
8 Accordion
169(27)
Introduction to Organology
170(1)
Representing the Accordion
171(3)
The Accordion Take-Over
174(6)
Making the Accordion
180(3)
Learning the Accordion
183(2)
Women and the Accordion
185(3)
Playing the Accordion
188(3)
Conclusions
191(1)
Discussion Questions
192(1)
Activities
192(2)
Sources Consulted
194(2)
9 Guira
196(20)
History of the Guira
196(2)
Making the Guira
198(5)
Learning the Guira
203(1)
Representing the Guira
204(3)
Gender and Guira
207(2)
Playing the Guira
209(3)
Conclusions
212(1)
Discussion Questions
213(1)
Activities
213(2)
Sources Consulted
215(1)
10 Tambora
216(22)
History of the Tambora
216(4)
Making a Tambora
220(2)
Learning Tambora
222(2)
Representation, Race, and Tambora
224(2)
Gender and the Tambora
226(1)
Playing Tambora
226(6)
Conclusions
232(1)
Discussion Questions
233(1)
Activities
233(2)
Sources Consulted
235(3)
11 Epilogue
238(8)
Venezuela under Maduro
238(2)
Sonic Attacks in Cuba
240(2)
Puerto Rico after Maria
242(1)
Trinidads Carnival Feminism
243(1)
Final Thoughts
244(1)
Sources Consulted
245(1)
Appendix A: Comparing the Caribbean Ensemble 246(2)
Appendix B: Comparing Caribbean Fife-and-Drum Ensembles 248(2)
Appendix C: Accordionists' Narratives 250(5)
Appendix D: Music/Dance Genres and Ensembles by Country 255(2)
Index 257
Sydney Hutchinson is Associate Professor of Music History and Cultures at Syracuse University.