| Description |
1 online resource (370 pages) |
| Series |
SOAS Musicology |
|
SOAS musicology series.
|
| Contents |
Cover; Half Title; Dedication; Title Page; Copyright Page; Table of Contents; List of Plates; List of Music Examples; Acknowledgements; Introduction; The cracking sound of the período especial; Facing Cuban and Latin music: the role of timba; Timba in the black diaspora; About this book; Overview of chapters; A final word; Part I Setting the Scene; 1 Música bailable under the Revolution, 1959-1989; Popular music in Havana at the advent of the revolution; Socialism without pachanga: the forging of a new identity; Structural changes in music-making and education |
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The years of the 'self-blockade', 1968-1973The 1970s crisis of dance music: cultural nationalism, music and the media; Precursors to timba: Cuban jazz, songo and the modernization of Cuban dance music; The impact of salsa and the resurgence of música bailable; Conclusions; 2 Music in Havana at the Dawn of the perıódo especial: the Emergence of Timba; Cuba into the 1990s: the advent of the período especial; The emergence of timba and the role of NG La Banda; The mark of timba; The decline of the collective and the rise of dance popstars; La Charanga Habanera and the spectacularization of timba |
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Conclusions3 Facing the Market: Cuban Musicians and Audiences into the 1990s; Professional musicians before the 1990s; Changes in music regulation during the período especial; The role of foreign record companies; Facing the market: musicians; Facing the market: audiences; The impact of the US embargo; Popular music and censorship; Conclusions; Part II Matters of Style; 4 Timba as a Genre and a Musical Style; Naming the style: son, salsa and timba; Hypotheses on the origins of the term; Timba, rumba and modern dance music; A new musical style; Instrumentation and sound; Identifying structure |
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Organization of the rhythm sectionThe role of improvization; The black roots of timba; 'El temba': analytical overview; 5 Voices, Words, Bodies: Content, Meaning and Timba Subculture; Situating the voice: coros and vocal style; Lyrics: content and language in timba songs; Representing the body: timba as a subculture; The emergence of despelote; Dress and visual style; Conclusions; Part III Dangerous Connections; 6 'Oh God, protect me!': Race, Religion and the Revolution; Afro-Cubans and their culture before 1959; After the revolution; Black culture between marginality and folklorization |
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Rumba in the symbolic geography of HavanaDance music and santería; Religion in Cuba after 1959; The orichas and the revolution; Marketing black culture; Conclusions; 7 'You are a witch with no feelings': Sex Tourism, Gender and the Representation of Women in Timba Songs; The return of sex tourism in Cuba; The scandal of 'La bruja'; 'Dale cintura, mulata!': Queens of Havana nights; A vulgar music? The image of woman in Cuban popular songs; Women and gender roles under the revolution; Jineterismo between escape and survival; Conclusions |
| Notes |
8 'Find yourself a sugar-daddy who pays your upkeep': the Challenge of música bailable |
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Print version record |
| Subject |
Dance music -- Cuba -- History and criticism
|
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Popular music -- Social aspects -- Cuba
|
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Dance music
|
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Popular music -- Social aspects
|
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Cuba
|
| Genre/Form |
Criticism, interpretation, etc.
|
| Form |
Electronic book
|
| Author |
Howard, Keith, 1956-
|
| ISBN |
9781351539081 |
|
1351539086 |
|
