By Donald Thompson
Puerto Rico's wealthy musical historical past is chronicled in Donald Thompson's translated texts, a historical past that's frequently unavailable to those that don't learn Spanish simply. Music in Puerto Rico info the Caribbean island's musical roots from Christopher Columbus' moment voyage to the recent global within the overdue 15th century to 20th century advancements. It explores a mess of subject matters, together with local tools, the advent of tune in colleges, people traditions, the mythical salsa, city pop, and advertisement track. the quantity additionally examines musical transformations in quite a few areas, together with mountains and plains.
Documents from ancient figures reminiscent of Fray Bartolomé de Las Casas and Manuel Alonso were excerpted and translated. additionally, Music in Puerto Rico explores some of the modes of musical expression which were precise to assorted geographic areas, together with the mountains and the plains. The documented texts additionally simplify bibliographic seek, as a few of the anthology's unique assets are tricky to locate.
Thompson's e-book presents a glimpse right into a society within which cultures intersect and during which magic used to be born within the kind of the preferred salsa. Musicians, musicologists, historians, scholars of Hispanic tradition, and somebody drawn to the musical foundations of Puerto Rican existence will locate Music in Puerto Rico a important source.
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Additional resources for Music in Puerto Rico: A Reader's Anthology
18. Arteaga (1865-1923) was an admired pianist and organist born in Mayagiiez and trained in Paris and New York City. His successful performing and teaching career was developed internationally, with periods of residence in San Juan, Ponce, Havana, and New York City. The present article, one of many examples of Arteaga's writing, was awarded honorable mention in a contest of folk song studies sponsored by the Ilustracion Musical Hispano-americana. 19. Author's note: The cuatro is a plucked-string instrument the number of whose strings is indicated by its name.
The following rhymed text, read in public, exemplifies the mourning of the Spanish government upon the announcement of the death of King Felipe V in 1746: Las campafias tafiidas resuenan repetidas, estemplados tambores publican sus dolores y el bronce con bramidos dava sus alaridos: a todos causa espanto con su violento llanto; veinte y cuatro horas llora bostezando el cuadrante de Ia hora. 26 Funeral observances for Felipe V had barely ended when the authorities published an edict "to the sound of drums and bugles," ordering the cessation of mourning and calling upon residents to manifest their joy at the confirmation of Fernando VI as absolute Spanish monarch.
This is in surprising contrast to his habitual way of life, which could not be quieter, more apathetic or more lethargic as regards spiritual life, given the level of ignorance in which he lives. As for the modes and harmonies used in the songs of the gibaros, I might add that although certain signs of Spanish origin are noted, songs and passages in minor mode are free of the Moorish minor: that mode which is so widely applied in the Andalusian provinces. As is well known, the main characteristic of the Moorish minor is its alteration of the sixth and seventh scale degrees in the descending minor mode.
Music in Puerto Rico: A Reader's Anthology by Donald Thompson