Encyclopedia of Latin American Popular Music
Page 77
Glossary of Latin American Music Terms, accessed June 9, 2012, http://www.salsa
holic.de/glossary.htm
Klemetz, Henrik. Latin American Music Styles, accessed June 9, 2012, http://www.lon
gitude13degreeseast.com/LAMusicStyles.html
Latin American Music Review, accessed June 9, 2012, http://www.utexas.edu/utpress/
journals/jlamr.html
Latin Grammy Awards, accessed June 9, 2012, http://www.latingrammy.com/
Books and Articles
Aparicio, Frances R. Listening to Salsa: Gender, Latin Popular Music, and Puerto Rican
Cultures. Hanover, NH: University Press of New England, 1998.
Appleby, David. “Folk, Popular, and Art Music.” The Music of Brazil, 94–115. Austin:
University of Texas Press, 1989.
Austerlitz, Paul. Merengue: Dominican Music and Dominican Identity. Philadelphia:
Temple University Press, 1997.
Behague, Gerard. “Music, c. 1920–c. 1980.” In A Cultural History of Latin America: Lit-
erature, Music and the Visual Arts in the 19th and 20th Centuries, edited by Leslie Bethell.
311–67. New York: Cambridge University Press, 1998.
Behague, Gerard. “Popular Music.” In Handbook of Latin American Popular Culture,
edited by Harold E. Hinds and Charles M. Tatum, 2–38. Westport, CT: Greenwood Press,
1985.
Bilby, Kenneth M, Michael D. Largey, and Peter Manuel. Caribbean Currents: Carib-
bean Music from Rumba to Reggae. Philadelphia: Temple University Press, 2006.
455
456 | Bibliography
Booth, Gregory, and Terry Lee Kuhn. “Economic and Transmission Factors as Essential
Element in the Definition of Folk, Art, and Pop Music.” The Musical Quarterly 74 (1990):
411–38.
Clark, Walter Aaron. From Tejano to Tango: Latin American Popular Music. New
York: Routledge, 2002.
Colburn, Forrest D. Latin America at the End of Politics. Princeton: Princeton Univer-
sity Press, 2002.
Hamm, Charles. “Popular Music.” The New Harvard Dictionary of Music, edited by Don
Michael Randel, 646–49. Cambridge: Belknap Press, 1986.
Kuss, Malena. Music in Latin America and the Caribbean: An Encyclopedic History .
Austin: University of Texas Press, 2004. Currently, only the first two volumes are available:
Volume 1: Performing Beliefs: Indigenous Peoples of South America, Central America,
and Mexico (2004) and Volume 2: Performing the Caribbean Experience .
Loza, Steven Joseph. Tito Puente and the Making of Latin Music. Urbana: University
of Illinois Press, 1999.
Manuel, Peter. “Perspectives on the Study of Non-Western Popular Musics.” Popular
Musics of the Non-Western World: An Introductory Survey. New York: Oxford University
Press, 1998.
Moore, Robin. Nationalizing Blackness: Afrocubanismo and Artistic Revolution in Ha-
vana, 1920–1940. Pittsburgh, PA: University of Pittsburgh Press, 1997.
Nettl, Bruno. “Folk Music.” The New Harvard Dictionary of Music, edited by Don Mi-
chael Randel, 315–19. Cambridge: Belknap Press, 1986.
Olsen, Dale A. and Daniel E. Sheehy, eds. The Garland Encyclopedia of World Music,
Volume 2: South America, Mexico, Central America, and the Caribbean. New York and
London: Garland, 1998.
Pacini Hernandez, Deborah, Héctor D. Fernández l’Hoeste, and Eric Zolov. Rockin’ Las
Américas: The Global Politics of Rock in Latin/O America. Pittsburgh, PA: University of
Pittsburgh Press, 2004.
Perrone, Charles A. and Christopher Dunn, eds. Brazilian Popular Music and Global-
ization. New York: Routledge, 2002.
Roberts, John Storm. The Latin Tinge: The Impact of Latin American Music on the
United States. 2nd ed. New York: Oxford University Press, 1999.
Schechter, John Mendell. Music in Latin American Culture: Regional Traditions. New
York: Schirmer Books, 1999.
Shaw, Lisa, and Stephanie Dennison. “Introduction: Defining the Popular in the Latin
American Context.” Pop Culture Latin America!: Media, Arts, And Lifestyle, 1–7. Santa
Barbara: ABC-CLIO, 2005.
Sublette, Ned. Cuba and Its Music: From the First Drums to the Mambo. Chicago:
Chicago Review Press, 2004.
Whitehead, Laurence. Latin America: A New Interpretation. New York: Palgrave
Macmillan, 2006.
About the Editor
George Torres received his PhD in musicology from Cornell University. His re-
search examines 17th-century French lute performance, the Latin American bolero
romántico, and primary sources for Latin American big band music. His publica-
tions have appeared in the Journal of the Lute Society of America, American Music,
Notes, Yearbook for Traditional Music, and Symposium. As a performer, he has
published the recording Flute and Guitar Music for Centaur Records, and Trille-
nium Publications and Clear Note Publications have published his musical editions
for guitar. His article on the bolero romántico is included in the collection From
Tejano to Tango: Latin American Popular Music (2002). He has taught at St. Lawrence
University and Grinnell College, and he is currently associate professor of music
at Lafayette College, where he teaches courses in music history and world music.
He also directs the Marquis Consort, an ensemble dedicated to the performance of
early music.
457
Contributors
Yukio Agerkop, Amsterdam, Netherlands (Venezuela)
Juan C. Agudelo, Austin, Texas
Ramón Versage Agudelo, Cali, Colombia
Paul Austerlitz, Gettysburg College, Gettysburg, Pennsylvania
Mark Brill, University of Texas, San Antonio, Texas
Thomas George Caracas Garcia, Miami University, Oxford, Ohio
Liliana Casanella, Havana, Cuba
Katia Chornik, University of Manchester, United Kingdom
Larry Crook, University of Florida, Gainsville, Florida
Alexander Sebastian Dent, George Washington University, Washington, D.C.
Edgardo Díaz Díaz, City University of New York
Raymond Epstein, Hillsborough, New Jersey
Michael Farley, St. Lawrence University, Canton, New York
Adriana Fernandes, Goiania, Brazil
Hector Fernández L ’ Hoeste, Georgia State University, Atlanta, Georgia
Tatiana Flórez-Pérez, Berlin, Germany
Beto González, Los Angeles, California
Liliana González, Havana, Cuba
Melissa González, Columbia University, New York
459
460 | Contributors
Neris González, Havana, Cuba
Lars Helgert, Shenandoah University, Winchester, Virginia
Clarence Henry, Columbia University, New York
Grizel Hernández, Havana, Cuba
J. Jesús Jáuregui Jimenez, Mexico City, Mexico
Caitlin Lowery, Lafayette College, Easton, Pennsylvania
Noriko Manabe, Princeton University, Princeton, New Jersey
Michael D. Marcuzzi, York University, Toronto, Ontario, Canada
Tracy McFarlan, Lafayette College, Easton, Pennsylvania
David Moskowitz, University of South Dakota, Vermillion, South Dakota
Alvaro Neder, Rio de Janeiro, Brazil
Michael O ’ Brien, Buenos Aires, Argentina
Carlos Odria, Tallahassee, Florida
Francisco Orozco, University of Washington, Seattle, Washington
Bernardo Padrón, Toronto, Canada
Raquel Par
aíso, Madison, Wisconsin
Rolando Antonio Pérez Fernández, Mexico City, Mexico
Vincenzo Perna, Torino, Italy
Mark E. Perry, North Georgia College & State University, Dahlonega, Georgia
Laura Stanfield Prichard, Carlisle, Massachusetts
José Raffaelli, Rio de Janiero, Brazil
Thomas Rohde, Attleboro, Massachusetts
Fernando Rios, Poughkeepsie, New York
Jonathan Ritter, George Washington University, Washington, D.C.
Thomas Rohde, Attleboro, Massachusetts
Helena Simonett, Vanderbilt University, Nashville, Tennessee
Hope Smith, California State University, Chico
Contributors
|
461
Erin Stapleton-Corcoran, University of Chicago, Chicago, Illinois
Rebecca Stuhr, University of Pennsylvania, Philadelphia, Pennsylvania
Janet L. Sturman, University of Arizona, Tucson, Arizona
Angelina Tallaj, Brooklyn, New York
George Torres, Lafayette College, Easton, Pennsylvania
Ramón Versage Agudelo, Cali, Colombia
Nolan Warden, Chicago, Illinois
Chris Washburne, Columbia University, New York
Jesse Wheeler, Brasilia, Brazil
Talia Wooldridge, York University, Toronto, Ontario, Canada
Index
Note: Page numbers in bold indicate main entries and sidebars in the Encyclopedia.
Abakuá clave, 98, 99
Almeida, Santiago, 24, 400
Accordion, 1 , 22 – 23, 275, 281, 399 – 402.
Alonso, Tite Curet, 318
See also Sanfona
Altamirada, Pedro, 294
Aceves, Miguel, 238 – 39
Alternative Society, 340
Adorno, Theodore, 131
Alux Nahual, 183, 343
Adventura, 21
Álvarez, Adalberto, 109, 374
Afoxé. See Brazil
Alza-púa, 411
Afro, 2
Amador, Effrain, 411
Afro-Cuban, 2 – 3 , 38, 77 – 78; culture, 403 – 4;
Anckermann, Jorge, 180, 451
growth of, 124 – 25; música típica and,
Anderson, Guillermo, 197
274 – 75, 293. See also Clave; Rumba
Andrade, Oswald de, 418 – 19
Afrocubanismo movement, 3
Andrews Sisters, 68, 69
The Afro-Cubans, 224
Antara, 347
Afro-Dominican Fusion Music, 4 – 6 , 148,
Antecedant-consequent form, 71 – 72
149 – 50
Antecedentes , 292
Afro-Latin religion, 335 – 36
Apaché (Apache dance), 245
Agencia Cubana de Rap (Cuban Rap Agency),
Aparicio, Frances, 177
195
Apito, 37
Agogô, 37, 356
The Apollo Theater, 232
Aguiar, Bernardo, 296
Arca, 368
Aguilar, Pepe, 431
Arcaño, Antonio, 231
Aguinaldos, 144
Argentina, 1, 6 – 13 , 84 – 86; bombo, 9, 52; cha-
“Aires de mi tierra,” 155
carera, 7, 52, 78 – 79, 328, 449; cuarteto,
Alaska y Dinarama, 343
7, 13, 117 – 18; cumbia, 134; folkloric
Albazos, 155
music of, 7 – 9; habanera in, 10, 189;
Alberti, Luis, 247
música tropical and regional styles of,
Albino, Johnny, 317
12 – 13, 48, 102, 258; race relations in,
Alboroto, 215
324; racial demographic of, 6; rock in,
Alegre All Stars, 146
12; tango, 6, 7, 9 – 12, 394 – 98
Aleke music, 170
Argentine, Mendoza, 311
Alf, Johnny, 56
Arias, Edmundo, 309
Alfonso, Gerardo, 288
Aristide, Jean-Bertrand, 314
Allende, Salvador, 284, 285
Arjona, Ricardo, 183
“Alma Sublime,” 137, 138
Armstrong, Louis, 216, 224
Almeida, Osvaldo de, 171
Arnaz, Desi, Jr., 105, 106, 234
463
464 | Index
Arnold, Alfred, 32, 33
Bantu slaves, 228 – 30
Arpa, 13 – 15 , 296 – 97, 380
Baqueteo, 142
Arpa Jarocha, 14, 338
Baquiné, 34 – 35
Arpa llanera, 14 – 15
Baraka, Amiri, 216
Arpa Roga, 15
Barbosa, Domingos Caldas, 229, 263
Arrasta-pé, 168
Barca, Calderón de la, 450
Art music, 165 – 66 , 251
Baretto, Ray, 146
Atabaque, 408
Baroque guitar, 440
Aterciopelados, 345
Barrientos, Rafael, 157
“A una ola,” 175
Barrio, 20
Ausucua, Juan, 72
Barrios, Agustín, 186, 298
Avilés, Hernando, 317
Basie, Count, 216
Axé music, 15 – 17 , 40, 41, 325, 408
Bastonero, 135
Ayacuchanos, 301
Batacumbele, 267
Ayala, Osvaldo, 275, 276
Batá drumming, 3
Ayala, Ramón, 282
Bataque, 36 – 37
Azpiazu, Justo “Don,” 339
Batería, 35 – 36 , 37
Batista, Fulgencio, 124
Bachata, 19 – 22 , 148, 149, 249
Bátiz, Javier, 227
Bahia, 62
Batucada, 36–37, 63
Baião, 22 – 23 , 63, 168, 360 – 61, 447
Batuque, 152
Baile de la marimba, 279
Bauzá, Mario, 224, 225, 231, 373
Baile funk, 65
Beatles, 434
Bailes populares, 274
Beaubrun Lakou, 190
Baixarias, 444 – 46
Bechet, Sidney, 216
Bajo quinto, 24
“Begin the Beguine,” 277
Bajo sexto, 1, 24 , 281
Bel canto, 43 – 44, 123
Baker, Chet, 57
Bélé, 147, 243, 277
Balada, 25 – 27 , 28, 30, 43, 112, 256
Bembé, 98, 423
Ballagas, Patricio, 421
Ben, Jorge, 269, 340
Ballet folklórico, 381
Benjamin, Walter, 131
Bamboula, 243
Berimbau, 429
Bambuco, 27 – 28 , 102
Bermúdez, Lucho, 133, 308, 309
Band, Heinrich, 32, 324
Bernal, Paulino, 401
Bandas, 28 – 30 , 253 – 54
Bernstein, Leonard, 429
Bandas Blanca, 197
Berrian, Brenda, 177
Bandas de pífano, 447
Berry, Chuck, 106
Bandas Gigante, 233
Bersuit Vergarabat, 345
Bandas populares, 253, 378
“Besame mucho,” 254
Bandas sinaloense, 257
Bethânia, 270
Bandeira, Manuel, 263
Bigi Pokoe, 171
Bandola, 27, 30 – 31
Biguine, 38 – 39 , 191, 243, 276, 277 – 78
Bandolím, 31 – 32
Billboard Latin Music Awards, 210
Bandolim, Jacob de, 31 – 32
Billboard Magazine , 210
Bandoneón, 10, 32 – 34 , 289, 395
Birabent, Mauricio, 343
Bandurria, 30 – 31
Birdland, 232
“Bang Bang,” 55
Black Apache, 331
Banton, Buju, 330
Black nationalism, 40
Index | 465
Black Orpheus , 57
228 – 30, 244, 263; mangue beat, 271 – 72;
Black Uhur
u, 330
maxixes, 75, 244 – 46, 332; modinha,
Blades, Rubén, 292 , 294, 352
262 – 64, 364 – 65; música sertaneja,
Blitz, 341
63, 131, 153, 272 – 73; nationalism in,
Bloco, 75, 357
96; race relations in, 324; racial demo-
Bloco afro, 15, 39 – 42 , 325, 336; surdo and,
graphic of, 59 – 60; regional music of,
392; timbalada, 407 – 8
63; rock music in, 64, 270 – 71, 340 – 42;
Bloco carnavalescos, 172
seresta, 364 – 65; slavery in, 59 – 60; trop-
Blues, 68
icália, 63, 270, 271, 340, 416 – 20. See
Bocer, 331
also Carnival/Carnaval; Choros; Música
Bolado, Vidal, 363
Popular Brasileira
Bolero, 39, 42 – 46 , 108, 419 – 20; in Bolivia,
Bretón, Tomás, 451
47; gender and, 177; habanera and, 43;
Bronx, 193
in Mexico, 255 – 56; modern, 139; in
Brown, Carlinhos, 16 – 17, 407, 408
Puerto Rico, 316; salsa and, 46
Brown, Ruth, 234
Bolero-cha, 80
Buckley, Francisco “Bush,” 294
Bolivia, 47 – 48 , 84 – 86, 368; Bolero in, 47;
Buena Vista Social Club, 125, 151, 375, 404 – 5
race relations in, 323; taquirari, 47,
Bueno, Rodrigo “El Potro,” 118
398 – 99
Bugalu. See Boogaloo
Bomba, 49 – 52 , 156, 308
Burning Spear, 330
Bombo, 9, 52
Byrd, Charlie, 225
Bonaparte, Napoleon, 263
Byrne, David, 16
Bongó, 19, 35, 53 – 54 , 81
Bongocero, 53
Caballito, 384
Boogaloo, 54 – 55 , 318
Cabildos, 122
Bordón, 241
Cafaro, Billy, 342
Bordón, Luis, 297
Café Tacuba, 345
Borges, Jorge Luis, 260
Caifanes, 344
Bossa nova, 55 – 59 , 61 – 62, 64, 169, 269
Caixa, 37
Botellita de Jerez, 344
Cajón, 67 – 68 , 179, 438
Botija, 363
Callado, Joaquim Antônio da Silva, 95, 163
Boukman Eksperyans, 190 , 192
Call and response. See Coro
Boula, 187 – 88
Callejón de Hammel, 161
Boula ka, 39
Calloway, Cab, 231
Boulanger, Nadia, 398
Calypso, 68 – 70 , 147, 293, 303, 351; soul and,
Box Notation Method, 98
369; in US, 69
Braga, Luiz Otávio, 445
Camacho, Ángel María, 308
Branqueamento, 60
Camisa de Vênus, 341
Brazil, 1, 59 – 66 ; axé music, 15 – 17, 40,
Campana. See Cencerro