Apuntes para una prehistoria del mambo
Bibliographic Data
| ID | 3980231 |
|---|---|
| Authors | Rubén López Cano (0000-0001-9266-5138, corresponding author), Rubén López Cano Rubén López Cano |
| Year | 2009 |
| Volume | 30 |
| Issue | 2 |
| Pages | 213-242 |
| Publication date | 2009-01-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Latin American Music Review (JOURNAL) |
| Journal identifiers | ISSN: 0163-0350 • E-ISSN: 1536-0199 |
| Publisher | Project MUSE (PUBLISHER • US) |
| DOI | 10.1353/lat.0.0047 |
| OpenAlex | W2161905173 |
| Language | EN |
| References cited | 2 |
The analysis of recent editions of recordings from the 1940s, featuring Cuban orchestras from Havana and New York, as well as new documentation that has surfaced in recent years, suggest that more contact than usually acknowledged existed between the music and musicians from both cities. The importation and reinterpretation in the United States of musical trends from Havana, especially those referring to the mambo-like sections of the guarachas and danzón, perhaps contributed to the conceptualization of the mambo as an autonomous genre. Dámaso Pérez Prado may have witnessed this process of reterritorialization of Cuban music, brought to fruition by, among others, Machito, José Curbelo, Miguelito Valdés, and Anselmo Sacasas. This process probably influenced his project and the creation of his famous mambo. The analysis of these elements confirms, once more, the difficulty of telling a linear narrative of the history of this genre
Aesthetics · Art · Art history · Conceptualization · Humanities · Linguistics · Literature · Musical · Narrative · Reinterpretation · Visual arts · Cuban History and Society · History · Latin American and Latino Studies · Philosophy · Spanish Literature and Culture Studies
| Citation velocity | historical |
|---|---|
| Highly cited | No |