Polyrhtythmia in the Music of Cuba
Bibliographic Data
| ID | 21249640 |
|---|---|
| Authors | Tania Leon, Tania Vicente León (0009-0002-7206-7100, University of California, Riverside, corresponding author) |
| Year | 2016 |
| Volume | 1 |
| Issue | 2 |
| Publication date | 2016-08-06 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Diagonal An Ibero-American Music Review (JOURNAL) |
| Journal identifiers | ISSN: 2470-4199 • E-ISSN: 2470-4199 |
| Publisher | California Digital Library (CDL) (PUBLISHER) |
| DOI | 10.5070/d81232941 |
| OpenAlex | W2566228735 |
| Language | EN |
| Citations received | 1 |
pon reflecting about the presence of polyrhythmia in the music of Cuba, I would like to elaborate on my thoughts of how to comprehend the forces that make this polyrhythmia what it is today and talk about the influences of African music as one of the basic conditions that makes this possible. It is natural for the people of the region to listen and dance to three and four different rhythms that are running simultaneously without defining and breaking down the notion of a structured pulse. These polyrhythmic complexities prevail not only in the music of Cuba but in the music of the Caribbean and some cultures of Latin America. In order to arrive at the polyrhythmic theories which I want to discuss, I feel it is necessary to synthesize my findings about the different influences of the cultures that were catalysts in the syncretic making of Cuban music. As Fernando Ortiz has pointed out, El extraordinario vigor y la cautivadora originalidad de la musica cubana es creacion mulata... poseemos una gloria de tangos, habaneras, danzones, sones y rumbas, amen de otros bailes mestizos que desde siglo XVI salian de La Habana con
Art · Geography · Visual arts · Cuban History and Society · History
| Unique citing works | 1 |
|---|---|
| Citations per year | 0,17 |
| Citation span | 2020 - 2020 (1) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 1 |