Origins of Cuban Music and Dance: Changüí is the first in-depth study of changüí, a style of music and dance in Guantánamo, Cuba. Changüí is analogous to blues in the United States and is a crucible of Cuban Creole culture. Benjamin Lapidus describes changüí and its relationship to the roots of son, Cuba's national genre and the style of music that contributed to the development of salsa, in Eastern Cuba. He also highlights the connections between Afro-Haitian music and Cuban popular music through changüí, connections with the Caribbean that have been largely overlooked in the past. After an initial historical discussion about the region of Guantánamo and the inter-connectedness of its various musical styles with a focus on changüí, Lapidus discusses the technical aspects of the genre as practiced within the region and beyond. He considers the socio-historical importance of its lyrics, presenting numerous musical transcriptions that explain how the music is structured, as well as providing background stories to songs. In a chapter unique to this book and a first in Cuban musicology and ethnography, Lapidus describes years of festivals and musical competitions to show how local musical identity takes shape, particularly when encountering national narratives of music history. The volume concludes with a comparison between changüí and son, as well as a bibliography, discography, and videography.

Origins of Cuban Music and Dance: Changüí

Arts & Photography

Lapidus, Benjamin

Music

Scarecrow Press

New York and the International Sound of Latin Music, 1940-1990 (American Made Music Series)

New York City has long been a generative nexus for the transnational Latin music scene. Currently, there is no other place in the Americas where such large numbers of people from throughout the Caribbean come together to make music. In this book, Benjamin Lapidus seeks to recognize all of those musicians under one mighty musical sound, especially those who have historically gone unnoticed. Based on archival research, oral histories, interviews, and musicological analysis, Lapidus examines how interethnic collaboration among musicians, composers, dancers, instrument builders, and music teachers in New York City set a standard for the study, creation, performance, and innovation of Latin music. Musicians specializing in Spanish Caribbean music in New York cultivated a sound that was grounded in tradition, including classical, jazz, and Spanish Caribbean folkloric music. For the first time, Lapidus studies this sound in detail and in its context. He offers a fresh understanding of how musicians made and formally transmitted Spanish Caribbean popular music in New York City from 1940 to 1990. Without diminishing the historical facts of segregation and racism the musicians experienced, Lapidus treats music as a unifying force. By giving recognition to those musicians who helped bridge the gap between cultural and musical backgrounds, he recognizes the impact of entire ethnic groups who helped change music in New York. The study of these individual musicians through interviews and musical transcriptions helps to characterize the specific and identifiable New York City Latin music aesthetic that has come to be emulated internationally.

UNIVERSITY PRESS OF MISSISSIPPI

Product Description 
New York City has long been a generative nexus for the transnational Latin music scene. Currently, there is no other place in the Americas where such large numbers of people from throughout the Caribbean come together to make music. In this book, Benjamin Lapidus seeks to recognize all of those musicians under one mighty musical sound, especially those who have historically gone unnoticed. 
Based on archival research, oral histories, interviews, and musicological analysis, Lapidus examines how interethnic collaboration among musicians, composers, dancers, instrument builders, and music teachers in New York City set a standard for the study, creation, performance, and innovation of Latin music. Musicians specializing in Spanish Caribbean music in New York cultivated a sound that was grounded in tradition, including classical, jazz, and Spanish Caribbean folkloric music. For the first time, Lapidus studies this sound in detail and in its context. He offers a fresh understanding of how musicians made and formally transmitted Spanish Caribbean popular music in New York City from 1940 to 1990. 
Without diminishing the historical facts of segregation and racism the musicians experienced, Lapidus treats music as a unifying force. By giving recognition to those musicians who helped bridge the gap between cultural and musical backgrounds, he recognizes the impact of entire ethnic groups who helped change music in New York. The study of these individual musicians through interviews and musical transcriptions helps to characterize the specific and identifiable New York City Latin music aesthetic that has come to be emulated internationally. 
 Review 
The result is a comprehensive assessment of New York as the capital of Latin music from 1940 to 1990, as told by an active participant and an eyewitness. -- Tomas Peña ― 
JazzDeLaPena\nNew York and the International Sound of Latin Music, 1940-1990 is an important foundation for such endeavors and should inspire historians to think about how Gotham’s diverse population helped shape 20th-century musical traditions that were simultaneously American 
and Latinx. -- Matthew Pessar Joseph ― 
Gotham: A Blog for Scholars of New York City History\nThere are very few books that document the origin and development of Latin music in the US. This work is of tremendous importance because it illustrates many unknown facts about Latin musicians’ identities and contributions to the Latin and jazz genres that would have continued to be ignored, if not rescued by Ben Lapidus and his reporting. The book is obligatory reading, and I fully recommend it. -- Rubén Blades, Panamanian musician, singer, composer, actor, activist, and politician\nI had been waiting a long time for a comprehensive historical assessment of New York as the capital of Latin music in the mid-twentieth century. Benjamin Lapidus far exceeds expectations. His multilayered portrait is ambitious, meticulous, surprising, and a delight to read. Bravissimo! -- Ilan Stavans, Lewis-Sebring Professor of Humanities and Latin American and Latino Culture at Amherst College\nIn the enormous casserole that Lapidus uses to present this history, he does not forget an ingredient that many other authors leave out: women. And this musical chef, Lapidus, presents it in exquisite form. Enjoy it, bon appétit! -- Dr. Cristóbal Díaz Ayala, namesake of the Cristóbal Díaz Ayala Collection of Cuban and Latin American music at Florida International University\nBased on extended interviews and incorporating insightful musical analysis, the author explores an array of fascinating topics: the history of Latin music pedagogy, the history of instrument makers and innovators, the contributions of Panamanian and Jewish musicians, the influence of female musicians and entrepreneurs, and the impact of the Mariel exodus on performance, to name only a few. -- Robin D. Moore, professor of ethnomusicology at the University of Texas at Austin\nLapidus’

El hombre y su música: Lilí Martínez Griñán (Spanish Edition)

Biographies & Memoirs

Cueto, Emilio

Ramírez, Isabel

Gómez Blanco, Ramón

Sánchez Heredia, María J.

Eckroth, Michael

Arts & Literature

UnosOtrosEdiciones

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