Encyclopedia of Latin American Popular Music

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Encyclopedia of Latin American Popular Music Page 77

by George Torres


  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

 

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