My Music Is My Flag: Puerto Rican Musicians and Their New York Communities, 1917-1940University of California Press, 1995年5月2日 - 304 頁 Puerto Rican music in New York is given center stage in Ruth Glasser's original and lucid study. Exploring the relationship between the social history and forms of cultural expression of Puerto Ricans, she focuses on the years between the two world wars. Her material integrates the experiences of the mostly working-class Puerto Rican musicians who struggled to make a living during this period with those of their compatriots and the other ethnic groups with whom they shared the cultural landscape. Through recorded songs and live performances, Puerto Rican musicians were important representatives for the national consciousness of their compatriots on both sides of the ocean. Yet they also played with African-American and white jazz bands, Filipino or Italian-American orchestras, and with other Latinos. Glasser provides an understanding of the way musical subcultures could exist side by side or even as a part of the mainstream, and she demonstrates the complexities of cultural nationalism and cultural authenticity within the very practical realm of commercial music. Illuminating a neglected epoch of Puerto Rican life in America, Glasser shows how ethnic groups settling in the United States had choices that extended beyond either maintenance of their homeland traditions or assimilation into the dominant culture. Her knowledge of musical styles and performance enriches her analysis, and a discography offers a helpful addition to the text. |
內容
| 13 | |
From Indianola to No Cola The Strange Career of the AfroPuerto Rican Musician | 52 |
Pipe Wrenches and Valve Trombones Puerto Rican WorkerMusicians | 84 |
Vente Tu Puerto Rican Musicians and the Recording Industry | 129 |
El Home Relief Canario and the New York Plena | 169 |
Sow de Borinquen Son del Barrio | 191 |
Notes | 205 |
Bibliography | 227 |
Discography | 245 |
Index | 247 |
其他版本 - 查看全部
常見字詞
African-American Aguadilla American Music artists audiences bandleader Barrio Bauzá became bolero boricuas Borinquén Brooklyn Canario canción popular career Centro de Estudios century cians cinema clubs composers Cuarteto Cuba Cuban Cultura Puertorriqueña cultural dance danza Danzón December economic ensembles entertainment Estudios Puertorriqueños ethnic groups Ethnic Recordings Flores genres guaracha guitar Harlem Hispanic Ibid Instituto de Cultura instruments interview by author island James Reese Europe jazz Jesús Jesús Colón jíbaro Johnny Rodríguez José Lamento Borincano Latin American Latin American Music Latin music living López Cruz Manuel Canario migration municipal bands musi música musical forms Noble Sissle North American orchestra Orquesta Pedro Pedro Flores performers played plena political popular music Puerto Rican music Puerto Rican musicians radio Rafael Hernández record companies Rico Río Piedras San Juan singer singing Sissle Socarrás social songs sounds Spanish theater tion Trío United uptown Vega Victor Victoria Hernández Vigoreaux World York City
熱門章節
第 1 頁 - People and their cultures perish in isolation, but they are born or reborn in contact with other men and women, with men and women of another culture, another creed, another race.
第 202 頁 - España y el fiero cantío del indio bravio lo tienes también. Preciosa te llaman los bardos que cantan tu historia no importa el tirano te trate con negra maldad, preciosa serás sin bandera, sin lauros, ni gloria preciosa, preciosa, te llaman los hijos de la libertad.
第 95 頁 - Street was the professional center of the district. The classy, expensive stores were on Lenox Avenue, while the more modest ones were located east of Fifth Avenue. The ghetto of poor Jews extended along Park Avenue between 1 10th and 1 17th and on the streets east of Madison. It was in this lower class Jewish neighborhood that some Puerto Rican and Cuban families, up to about fifty of them, were living at that time. Here, too, was where a good many Puerto Rican cigarworkers, bachelors for the most...
第 165 頁 - Si yo vendo la carga, mi Dios querido, un traje a mi viejita voy a comprar. Y alegre también su yegua va al presentir que aquel cantar es todo un himno de alegría.
第 95 頁 - Street facing Central Park. As I was saying, when I took up residence in New York in 1916 the apartment buildings and stores in what came to be known as El Barrio, "our" barrio, or the Barrio Latino, all belonged to Jews. Seventh, St. Nicholas, and Manhattan avenues, and the streets in between, were all inhabited by Jewish people of means, if not great wealth.