La música en Cuba

by Alejo Carpentier

Alejo Carpentier ha compuesto la historia de la música de Cuba con materiales de primera mano, reunidos a lo largo de pacientes y minuciosas búsquedas en archivos, colecciones y bibliotecas. Entre sus numerosos hallazgos hay que mencionar en primer término las partituras de Esteban Salas, que se daban por perdidas y que constituyen una valiosísima aportación a la musicografía de América Latina.

Genres: Nonfiction, Music

372 pages, Paperback

First published January 1, 1946

About the author

Writings of Cuban author, musicologist, and diplomat Alejo Carpentier influenced the development of magical realism; his novels include El siglo de las luces! (1962) and The Kingdom of This World (1949).

Alejo Carpentier Blagoobrasoff, an essayist, greatly influenced Latin American literature during its "boom" period.

Perhaps most important intellectual figure of the 20th century, this classically trained pianist and theorist of politics and literature produced avant-garde radio programming. Best known Carpentier also collaborated with such luminaries as Igor Stravinsky, Darius Milhaud, Georges Bataille, and Antonin Artaud. With Havana, he strongly self-identified throughout his life. People jailed and exiled him, who lived for many years in France and Venezuela but after the revolution of 1959 returned. He died in Paris, but survivors buried his body in Havana.

Reviews

[Kevin James · Rating 3 out of 5]

3 stars, an interesting survey of all the musical influences that making Cuban music distinct though pretty dry and academic in its prose

[Gordon Isnor · Rating 1 out of 5]

This is an older book on Music in Cuba and I found it a slog. It’s very much from the perspective of classical music. For someone looking for an amazing and delightful introductory survey to Cuban music and history – take a look at Ned Sublette instead.

[Curtis · Rating 4 out of 5]

Good, if dated. This covers up to the 1940s basically. It mainly looks at Santiago and Havana. The geographical and chronological limits are its main shortcomings. For examining church and concert music of Cuban from 1500s to 1940s, it is excellent.