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Download La musica popular en Cuba (Spanish Edition) ePub

by Armando Ledon Sanchez

Download La musica popular en Cuba (Spanish Edition) ePub
  • ISBN 0932367151
  • ISBN13 978-0932367150
  • Language Spanish
  • Author Armando Ledon Sanchez
  • Publisher El Gato Tuerto (September 1, 2003)
  • Pages 232
  • Formats lrf lit docx mbr
  • Category History
  • Subcategory Americas
  • Size ePub 1905 kb
  • Size Fb2 1201 kb
  • Rating: 4.7
  • Votes: 994

Este libro ofrece una vision condensada de la historia de la musica popular cubana desde sus origenes hasta la epoca actual. El estudio comprende el surgimiento, analisis y desarrollo de los generos que la conforman, as? como de sus mas destacados representantes, tanto autores como interpretes. El libro, que viene a llenar un vacio informativo en los estudios sobre musica cubana, sera util no solo para especialistas en el genero, sino tambien para los amantes de la musica popular en general, avidos de ampliar sus conocimientos sobre la historia musical de Cuba, un peque?o pais que tanta riqueza y diversidad ha aportado al mundo en esta esfera de la creaci?n artistica. El libro esta escrito en una forma comunicativa y de facil comprension, y pone a disposicion del lector el resultado de las consultas hechas por el autor en los libros y revistas mas importantes que han abordado esta tematica. A esto se suma el extenso archivo personal de entrevistas y testimonios que el autor posee producto de su trabajo radial vinculado a la musica, que ya sobrepasa medio siglo. Armando Ledon Sanchez es musico, locutor, actor, y escritor. Desde hace un cuarto de siglo es Director y Asesor de Programas Musicales de Radio Progreso, en La Habana, la radioemisora m?s escuchada de Cuba.

Armando Ledon Sanchez es musico, locutor, actor, y escritor. Desde hace un cuarto de siglo es Director y Asesor de Programas Musicales de Radio Progreso, en La Habana, la radioemisora m's escuchada de Cuba.

Armando Ledon Sanchez es musico, locutor, actor, y escritor. Stores ▾. Audible Barnes & Noble Walmart eBooks Apple Books Google Play Abebooks Book Depository Alibris Indigo Better World Books IndieBound. Paperback, 232 pages.

He composed the popular sones "La choricera" and "Ayaca de maíz", and appeared in several films in the 1950s. a b c d Ledón Sánchez, Armando (2003). Chicago, IL: Intellect Books. p. 28. ^ Betancourt, Lino (October 26, 2011). La música popular en Cuba (in Spanish). Oakland, CA: Intelibooks. 57. ^ Suárez Hernández, Senén (March 15, 2004).

Diccionario encyclopédico de la música en Cuba. 84. ^ Ledón Sánchez, Armando (2003). Shepherd, John; Horn, David, eds. (2014). Bloomsbury Encyclopedia of Popular Music of the World, Volume 9. London, UK: Bloomsbury. 274. ^ Carpentier, Alejo 2001. Minneapolis, MN, p. 161. ^ Orovio, Helio 1981. Diccionario de la música cubana.

Cuba libre rescata en forma de libro el itinerario virtual del blog Generación Y, a través de reveladores textos y fotos, muchas de ellas tomadas por la propia Sánchez, que retratan la Cuba de hoy. Yoani tiene una excelente manera de escribir

Cuba libre rescata en forma de libro el itinerario virtual del blog Generación Y, a través de reveladores textos y fotos, muchas de ellas tomadas por la propia Sánchez, que retratan la Cuba de hoy. Yoani tiene una excelente manera de escribir. El libro me lo prestaron y quise comprarlo, pero es una pena que sea tan caro y este fuera de mi presupuesto.

La música popular un lugar donde compartir esos temas que tanto nos apasionan y esa frases que no dicen tanto sin decir palabras donde expresar nuestros sentimiento con una melodiosa canción y sentirnos en casa, Porque es un lugar hecho especialmente para ti Música Popular.

La música popular un lugar donde compartir esos temas que tanto nos apasionan y esa frases que no dicen tanto sin decir palabras donde expresar nuestros sentimiento con una melodiosa canción y sentirnos en casa, Porque es un lugar hecho especialmente para ti Música Popular, About la música popular. Música Popular donde apoyamos los grupos y artistas del mundo de la música.

April 24, 2010 History. Armando Ledon Sanchez. LA Musica Popular En Cuba. 1 2 3 4 5. Want to Read. Are you sure you want to remove LA Musica Popular En Cuba from your list? LA Musica Popular En Cuba. by Armando Ledon Sanchez. Published September 2003 by El Gato Tuerto.

Ledón Sánchez, Armando (2003). 111. ^ Marceles, Eduardo (2004). Azúcar! The New Biography of Celia Cruz. New York, NY: Reed Press.

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Talk about La musica popular en Cuba (Spanish Edition)


Mettiarrb
Armando Ledón Sánchez is deeply immersed in Cuban popular music, as performer (singer, percussionist), broadcaster, collector, researcher, and, of course, as writer. His book, "La Música popular en Cuba" (Oakland, Calif.: El Gato Tuerto, 2003; 230 p.; ISBN 0-932367-15-1), therefore, comes from an authoritative source. Because books on this subject still are rare on the musical turf, one only mentions certain kinds of reservations towards it with reluctance, but there is no doubt that this Spanish-language publication should be considered as essential to popular music, jazz, popular culture, and Cuban studies.

Since Ledón Sánchez obviously tries to be as comprehensive in his coverage as possible, the book is stuffed to the hilt with names of musicians and groups and with its brief accounts of the contributions of many of them to Cuban culture. However, the text seems rather encyclopaedic in both the best and the less desirable senses of the word. There is such an effort at providing adequate coverage in few pages that Ledón Sánchez' text indeed makes for quite dry reading. Perhaps he and his publisher should have produced a longer book that covers all of what this one does, but with ampler data and, here and there, more colourfully anecdotal writing (which, judging from the few occasional but excellent anecdotes and personality sketches which the author does provide, could be very amusing, personal, and/or enlightening). More extended comments on, and analysis of, the music itself (and not so nearly exclusive discussion of its music-makers and the verbal aspects of song lyrics) also would be very welcome. The result would be a book both more informative and more interesting to read.

Due to the fact that Ledón Sánchez was a singer and percussionist, perhaps his comprehension of the rudiments and theory of music, and the capacity to analyse it on purely musical terms, may be more limited than what one would expect from another writer who plays a wind, stringed, or keyboard instrument, or who is a composer and/or arranger. (Confirming this hunch is the book's absence of examples in musical notation, although this lack may have been due to the publisher's insistence rather than to the limitations of author's musical training.) This musical background also may account for directing excessive attention to classing songs too much according to their textual subject matter rather than, more strictly and pertinently, by purely musical criteria (a common failing, be it noted, of altogether too much of the literature about popular music of all kinds and places). More specific musical description of the types and rhythms of Cuban dances, with basic examples in musical notation to illustrate their basic rhythmic character, also would have helped considerably. (It is possible, of course, that the publisher, rather than the author, was the party in this monographic project which insisted on excluding musical notation.) Musical analysis certainly is not entirely absent (far from that), but it tends to be at a rather rudimentary level. However, the book does include, among the appendices, welcome information summarising the instrumental make-up of ensembles, about some of the musical instruments prominent in Cuban music, and allied matters; that would have been even more helpful if illustrations had been included, especially of instruments less known outside of Cuba.

The appendices also include an useful chronology of the history of Cuban pop music. There also is a good bibliography of literature on the subject of articles, books, and of other literature in Spanish. Listing some of the articles and books on the subject in languages besides Spanish would be helpful, too, but only if the bibliography were to be lengthened; the literature in Spanish itself often is much more difficult to track down (due to the relative lack of bibliographic control of what is printed in Spanish) than to find what exists on the subject in English or German. Within the text of the book and in the chronology, Ledón Sánchez occasionally mentions and briefly describes the initial appearance of literature of particularly great historical importance that appeared on the subject of Cuban music and musicians.

Ledón Sánchez discretely avoids much of any discussion about how popular music interacted with Cuban politics (perhaps prudently, given how explosively divergent are the opinions regarding such matters throughout the Western Hemisphere). However, the author does provide some good comments on matters of Cuban folklore, society, and general and regional Cuban culture and life, as they pertain to this Cuban popular and jazz (or, rather, jazz-tinged) music. Studies by authors in other countries with a freer intellectual climate that that which still prevails in Cuba (as of the time of this review, mid-2010) can supplement the book's partial lack of adequate socio-political context.

Facilitating this rather small tome's use as a reference guide, the book is fairly adequately indexed for personal names per se, but without cross-references to other forms of name (especially nicknames and pseudonyms) nor, alas, for names of ensembles or for geographical names, either; neither is there is any topical (subject) indexing for the book. Despite its shortcomings, the volume serves well as a reference guide, probably the best help which this work provides.

As to the actual experience of reading the text of this book from beginning to end, that is something that most readers may find becomes tedious in doses of more than thirty minutes or so at a time, due to the relentless onslaught of the array of names and places which pass by, with too little else to divert the reader about Cuba's saucy musical culture. Occasionally, especially for the music of recent decades in which the author has more direct involvement, Ledón Sánchez does loosen up a bit to provide more detail and even some anecdotes, or some welcome if hardly deep analysis of style, technics, etc., which temporarily enliven his account of Cuban music.

Although Ledón Sánchez occasionally brings up controversies among specialists regarding some aspects of the music of his island country, he does not cite at such moments in the book the literature (assuming that such differences of opinion do occur in print) to which he may have made resort to support or which may differ from his convictions, in footnotes or in back references; he enumerates such literature almost solely in the book's bibliography. Footnotes and references, about these or other matters, in addition to the book's bibliography, would have been helpful to the reader. Although this study obviously is one of a popular and non-technical nature, accounting for the lack of such a scholarly nicety such as references to document the text, there are times such as this when occasional footnotes (or numbered back references), including the mention of page(s) within works cited, would have been very welcome, even if the book's bibliography, indeed, does provide a welcome resource to direct the researcher to further reading on the subject.
WinDImmortaL
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La música popular en Cuba, de Armando Ledón, ofrece una visión condensada de la historia de la música popular cubana desde sus orígenes hasta la época actual. El estudio comprende el surgimiento, análisis y desarrollo de los géneros que la conforman, así como de sus más destacados representantes, tanto autores como intérpretes. El libro, que viene a llenar un vacío informativo en los estudios sobre música cubana, será útil no sólo para especialistas en el género, sino también para amantes de la música popular en general, ávidos de ampliar sus conocimientos sobre la historia musical de Cuba, un pequeño país que tanta riqueza y diversidad ha aportado al mundo en esta esfera de la creación artística.
El libro está escrito en una forma comunicativa y de fácil comprensión, y pone a disposición del lector el resultado de las consultas hechas por el autor en los libros y revistas más importantes que han abordado esta temática. A esto se suma el extenso archivo personal de entrevistas y testimonios que el autor posee producto de su trabajo radial vinculado a la música, que ya sobrepasa medio siglo.
Ledón es Director y Asesor de Programas Musicales en Radio Progreso, La Habana, donde ha trabajado por más de veinticinco años.