Licia Fiol-Matta traces the careers of four iconic Puerto Rican singers--Myrta Silva, Ruth Fernández, Ernestina Reyes, and Lucecita Benítez--to explore how their voices and performance style transform the possibilities for comprehending the figure of the woman singer. Fiol-Matta shows how these musicians, despite seemingly intractable demands to represent gender norms, exercised their artistic and political agency by challenging expectations of how they should look, sound, and act.
Puerto Rico is often depicted as a "racial democracy" in which a history of race mixture has produced a racially harmonious society. In Remixing Reggaetón, Petra R. Rivera-Rideau shows how reggaetón musicians critique racial democracy's privileging of whiteness and concealment of racism by expressing identities that center blackness and African diasporic belonging.
A hybrid of reggae and rap, reggaeton is a music with Spanish-language lyrics and Caribbean aesthetics that has taken Latin America, the United States, and the world by storm. Superstars--including Daddy Yankee, Don Omar, and Ivy Queen--garner international attention, while aspiring performers use digital technologies to create and circulate their own tracks. Reggaeton brings together critical assessments of this wildly popular genre. Journalists, scholars, and artists delve into reggaeton's local roots and its transnational dissemination; they parse the genre's aesthetics, particularly in relation to those of hip-hop; and they explore the debates about race, nation, gender, and sexuality generated by the music and its associated cultural practices, from dance to fashion.
As the populations of Latin American and Caribbean background in the USA proliferate, it becomes all the more important to understand the distinctions among nationalities and regional groups. To this end, this text investigates the historical experience of Puerto Ricans in New York.
Puerto Rico's rich musical history is chronicled in Donald Thompson's translated texts, a history that is often unavailable to those who do not read Spanish easily. Music in Puerto Rico details the Caribbean island's musical roots from Christopher Columbus' second voyage to the New World in the late fifteenth century to twentieth century developments. It explores a multitude of topics, including native instruments, the introduction of music in schools, folk traditions, the legendary salsa, urban pop, and commercial music. The volume also examines musical differences in various regions, including mountains and plains.
Call Number: eBook: see linked entry on Puerto Rico
Publication Date: 2013
The Grove Dictionary of American Music, 2nd edition will be the largest, most comprehensive reference publication on American Music.
Entry on Puerto Rico includes the following:
1. Pre-Columbian societies.
2. Early church music.
5. Secular festivities and institutions.
11. Classical composition since the 1950s.
12. Musical institutions.
Bomba is an Essential Expression of Puerto Rican Culture
"Before there were styles like salsa and reggaetón, there was bomba. The name does not only refer to the ancient music genre, but it is also the name of the instruments and the dance that accompanies the music. Bomba is everything. "
An unprecedented overview of the dances from each of this region's major islands and the complex, fused, and layered cultures that gave birth to them. The authors in this collection, from distinguished cultural leaders to highly innovative choreographers, reveal how dance shapes personal, communal, and national identity. Entries on Puerto Rico and on the African Background of Caribbean dance.
Salsa is a popular dance music developed by Puerto Ricans in New York City during the 1960s and 70s, based on Afro-Cuban forms. By the 1980s, the Colombian metropolis of Cali emerged on the global stage as an important center for salsa consumption and performance. Despite their geographic distance from the Caribbean and from Hispanic Caribbean migrants in New York City, Caleños (people from Cali) claim unity with Cubans, Puerto Ricans and New York Latinos by virtue of their having adopted salsa as their own. The City of Musical Memory explores this local adoption of salsa and its Afro-Caribbean antecedents in relation to national and regional musical styles, shedding light on salsa's spread to other Latin American cities.