Robin D. Moore
Auteur de Music and Revolution: Cultural Change in Socialist Cuba (Music of the African Diaspora)
A propos de l'auteur
Robin D. Moore is a Professor of Ethnomusicology at the University of Texas at Austin. He has received fellowships from the Rockefeller Foundation, the MacArthur Foundation, the American Council of Learned Societies, and the National Humanities Center. He is the author of Nationalizing Blackness: afficher plus Afrocubanismo and Artistic Revolution in Havana, 1920-1940; Music and Revolution; Cultural Change in Socialist Cuba; Music of the Hispanic Caribbean; and (with Alejandro Madrid) Danzón: Circum-Caribbean Dialogues in Music and Dance; and the editor of Musics of Latin America and College Music Curricula for a New Century. He is also the editor of the journal Latin American Music Review. afficher moins
Œuvres de Robin D. Moore
Music and Revolution: Cultural Change in Socialist Cuba (Music of the African Diaspora) (2006) 34 exemplaires
Nationalizing Blackness: Afrocubanismo and Artistic Revolution in Havana, 1920-1940 (1997) 23 exemplaires
Danzón: Circum-Caribbean Dialogues in Music and Dance (Currents in Latin American and Iberian Music) (2013) 5 exemplaires
Étiqueté
Partage des connaissances
- Nom légal
- Moore, Robin Dale
- Date de naissance
- 1964-10-16
- Sexe
- male
Membres
Critiques
Prix et récompenses
Statistiques
- Œuvres
- 9
- Membres
- 83
- Popularité
- #218,811
- Évaluation
- 3.3
- Critiques
- 3
- ISBN
- 24
- Langues
- 1
Circularity, and the paths it entails, plays a key role in linking Cuba to the larger Western Hemisphere. Though Moore and Madrid cite “circum-Caribbean dialogues” in their title, I would argue that this book goes the farthest of any work we’ve read thus far in situating Cuba within a hemispherical model. While Scott’s Degrees of Freedom discussed larger global trends in the late-nineteenth and early-twentieth centuries, she focused on one family, whereas Moore and Madrid focus on multiple sources and patterns from around the “West.”
Moore and Madrid demonstrate that the danzón was a dynamic process by tracing changes in the music and movements as it moved across borders. Their continued use of comparative musical staves shows how musicians adopted elements from each other’s work and incorporated them into their own cultural milieu. Further, Moore and Madrid described how these staves represent the music only as it appeared for piano rather than as a living work full of improvisations as musicians played it. This work is only possible through a cross-disciplinary approach. Moore and Madrid blend musicology, history, anthropology, and more to form their argument.… (plus d'informations)