Relevant bibliographies by topics / Conservatories of music Puerto Rico

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Academic literature on the topic 'Conservatories of music Puerto Rico'

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Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "Conservatories of music Puerto Rico"

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Becker, Babette, Pete Reiniger, Rene Lopez, Jorge Perez Rolon, and Juan Flores. "Puerto Rico in Washington." Yearbook for Traditional Music 32 (2000): 236. http://dx.doi.org/10.2307/3185290.

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Espada-Brignoni, Teófilo, and Frances Ruiz-Alfaro. "Culture, Subjectivity, and Music in Puerto Rico." International Perspectives in Psychology 10, no. 1 (January 2021): 3–12. http://dx.doi.org/10.1027/2157-3891/a000001.

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Abstract. Understanding human phenomena requires an in-depth analysis of the interconnectedness that arises from a particular culture and its history. Subjectivity as well as a collective subjectivity emerges from human productions such as language and art in a specific time and place. In this article, we explore the role of African-based popular music genres such as bomba and plena as ways of negotiating narratives about Puerto Rican society. Popular music encompasses diverse meanings. Puerto Rican folk music’s subjectivity provides narratives that distance Puerto Ricans from an individualistic cosmovision, allowing us to understand the social and political dimensions of this complex Caribbean culture. The events of the summer of 2019, which culminated in the ousting of governor Ricardo Rosselló from his position, illustrate how music can foster social change.
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Ortiz, Mario. "Music in Puerto Rico: A Reader's Anthology (review)." Notes 60, no. 2 (2003): 425–26. http://dx.doi.org/10.1353/not.2003.0166.

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Rivera-Rideau, Petra, and Jericko Torres-Leschnik. "The Colors and Flavors of My Puerto Rico." Journal of Popular Music Studies 31, no. 1 (March 1, 2019): 87–108. http://dx.doi.org/10.1525/jpms.2019.311009.

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Luis Fonsi and Daddy Yankee’s song “Despacito” shattered numerous records to become one of the most successful Spanish-language songs in U.S. pop music history. Declared 2017’s “Song of the Summer,” the “Despacito” remix featuring Justin Bieber prompted discussions about the racial dynamics of crossover for Latin music and Latina/o artists. However, little attention was paid to the ways that “Despacito”’s success in the Latin music market demonstrated similar racial dynamics within Latin music, especially in the song’s engagement with reggaeton, a genre originally associated with Black and working-class communities. This paper examines the racial politics that surround “Despacito”’s success in both the Latin mainstream and the U.S. mainstream. We argue that “Despacito” reinforces stereotypes of blackness in the Latin mainstream in ways that facilitate reggaeton’s crossover. In turn, Fonsi himself becomes attributed with similar stereotypes, especially around hypersexuality, that represent him as a tropical Latina/o racialized other in the United States. Through close readings of media coverage of “Despacito” alongside the song’s music video, we argue that it is critical to look at “Despacito”’s success in both the Latin mainstream and the U.S. mainstream in order to examine the complex and contradictory process of crossing over.
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Hernández-Candelas, Marta. "Policies for Early Childhood Music Education in Puerto Rico." Arts Education Policy Review 109, no. 2 (November 2007): 27–32. http://dx.doi.org/10.3200/aepr.109.2.27-32.

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Thompson, Donald, and Pedro Malavet Vega. "Historia de la cancion popular en Puerto Rico (1493-1898)." Latin American Music Review / Revista de Música Latinoamericana 14, no. 2 (1993): 288. http://dx.doi.org/10.2307/780179.

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Latorre, Ileana S., and Oswaldo Lorenzo. "Relations between study and employment: Music graduates in Puerto Rico." Arts and Humanities in Higher Education 12, no. 2-3 (April 2013): 161–68. http://dx.doi.org/10.1177/1474022212473524.

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de Arce, Daniel Mendoza. "Music in the Constitutions of the Diocese of Puerto Rico (1604)." Latin American Music Review / Revista de Música Latinoamericana 9, no. 2 (1988): 233. http://dx.doi.org/10.2307/780295.

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Howard, Karen. "Puerto Rican Plena: The Power of a Song." General Music Today 32, no. 2 (November 16, 2018): 36–39. http://dx.doi.org/10.1177/1048371318809971.

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In order to bring music of Puerto Rico to the general music classroom, it is important to understand the sociocultural and sociohistorical context of the music. The traditional genre of plena shares cultural threads with West Africa, Spain, and indigenous (Taíno) culture. Commonly known as El Periodico Cantado (the singing newspaper), plena songs give updates on what people are feeling and current events effecting the community. The plena song Que Bonita Bandera (What a Beautiful Flag) is explored for its potential uses in elementary and secondary general music classes.
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Thompson, Donald. "Notes on the Inauguration of the San Juan (Puerto Rico) Municipal Theater." Latin American Music Review / Revista de Música Latinoamericana 11, no. 1 (1990): 84. http://dx.doi.org/10.2307/780360.

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Dissertations / Theses on the topic "Conservatories of music Puerto Rico"

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Bou, Jimmarie. "The making of a public institutional building : a design for the new conservatory of music of Puerto Rico." Thesis, Georgia Institute of Technology, 2001. http://hdl.handle.net/1853/23990.

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Nazario, Angel. "The Relation between Music Integration and Academic Achievement in Elementary Schools in Southwest Puerto Rico." Thesis, Northcentral University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10837929.

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Music plays a fundamental role in early childhood education. Research shows that the first of the intelligences developed is the musical intelligence. Educators argue that while this is an intelligence with which all human beings are born, development of this intelligence will depend on the environment and the opportunities that are provided to the child. In today's global society, music has a permanent presence and is significant in everyday lives. It is a basic element in elementary education in many countries; however, few schools in Puerto Rico integrate music in their curriculum. In addition, there is unequal access to music education in schools in Southwest Puerto Rico because the justification for including it in the curricula is questioned. The purpose of this quantitative correlation study using secondary data was to determine if there is a relationship between music integration in Southwest Puerto Rico elementary schools and academic achievement. Secondary data from schools with and without music education were correlated to determine if a relationship existed that would justify the inclusion of music education in all such schools. The findings of this study support the importance of music education for elementary school students. Children acquire more knowledge in reading and writing when music education is integrated into the curriculum. Findings show that the stage of literacy of elementary school students is higher, according to the academic achievement tests of the Department of Education of Puerto Rico, when there is music education integrated in the curricula. In summary, it is concluded that music education is of great importance for improving reading, and hence, improving the development of children.

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Lynch, Evan Thomas. "Three Danzas by Puerto Rican Clarinetist/Composer Juan Rios Ovalle Arranged for Clarinet and Piano." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu149259610054858.

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Collazo, Carmen D. "The effect of after-school music programs in at-risk students' self-esteem and social skills in San Juan, Puerto Rico." FIU Digital Commons, 2010. http://digitalcommons.fiu.edu/etd/2405.

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The purpose of this study was to examine and expand upon the role the Programas de Orquestas Sinfonicas Juveniles (POSJU) experiences play in self-esteem and social skills. The research took place in Felipe Gutierrez y Espinoza School, one of ten POSJU centers, located in the San Juan, Puerto Rico. Thirty-eight students (N=38) aged 7 to 17 participated in this study. Participants rated their self-esteem and social skills using the Rosenberg Self-Esteem Scale (RSES) and the Social Skills Competence Checklist (SSCC). No significant differences between pre- and post-evaluations on RSES and. SSCC were found. For additional information, teachers evaluated all participants using the Teacher Student Report (TSR). Significant differences were found across the construct of social skills, but not self-esteem. Information regarding the POSJU after school program was collected from parents through a Parent Questionnaire Report (PQR). Overall, parents’ responses towards the program show satisfaction with POSJU.
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Viera, Vargas Hugo René. "De-centering identities popular music and the (un)making of nation in Puerto Rico, 1898-1940 /." [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3331262.

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Thesis (Ph.D.)--Indiana University, Dept. of History, 2008.
Title from PDF t.p. (viewed on Jul 23, 2009). Source: Dissertation Abstracts International, Volume: 69-11, Section: A, page: 4468. Adviser: Arlene Diaz.
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Vega-Martinez, Juan Carlos. "Exploring distance learning experiences of in-service music teachers from Puerto Rico in a master's program." Thesis, Boston University, 2013. https://hdl.handle.net/2144/11075.

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Thesis (D.M.A.)--Boston University
The purpose of this study was to explore the experiences of in-service music teachers who chose to pursue a master's degree in music education through distance learning. In this study, I examined the motivations of in-service music teachers for choosing to pursue a master's degree in music education through distance learning; the benefits teachers reported as a result of emolling in a distance learning program; the challenges teachers faced when studying in an online distance learning graduate program; and, the learning experiences teachers found significant for their profession and teaching environments. Teachers who pursued a master's degree in music education through distance learning at Cambridge College Puerto Rico Regional Center comprised the sample. The primary data collection method was individual semi-structured interviews. Results depicted that the experiences gained by in-service music teachers increased their capacity in teaching pedagogy, theoretical understanding of the field, communication skills, and capability in handling technological issues. The difference between the number of students satisfied and dissatisfied with the program was significant, with the former outnumbering the latter. The salient disadvantages reported by the sample group included a technological gap, reduced direct interaction with professors, a need for self-motivation, and a reduced practical ability between the moderators and the students. On the other hand, the primary advantage of distance learning was the convenience and flexibility of pursuing a music education degree online, which allowed the in-service music teachers to study at home and gave them the capability to balance their domestic and professional responsibilities. The participants' main reasons for enrolling in an online degree program were a desire to excel in their careers, the lack of a geographically closer option, professional and/or family lifestyles, a need for increasing academic knowledge, and a need to improve teaching capability and capacity. Recommendations are offered for leaders and institutions engaged in distance learning programs to address the challenges raised by students who have gone through the system. I hope that the knowledge gained from this study will expand both scholars' and prospective students' current understanding of distance learning as an educational model, especially in the music education field.
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Ruiz-Caraballo, Noraliz. "Continuity and Change in the Puerto Rican Cuatro Tradition: Reflections on Contemporary Performance Practice." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1448876345.

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Almodovar, Mayra. "Integrating music, drama and the visual arts in the early childhood curriculum a study of early childhood teachers in a metropolitan area of Puerto Rico /." Amherst, Mass. : University of Massachusetts Amherst, 2010. http://scholarworks.umass.edu/open_access_dissertations/195/.

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Ruiz, Mestre Hermelindo. "GUITAR ARRANGEMENTS OF SELECTED DANZAS OF JUAN F. ACOSTA, WITH NEW CONSIDERATIONS OF HIS MUSIC AND MUSICAL LIFE." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/125.

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Juan Francisco Acosta (1890-1968) was a prolific composer, band conductor, and educator from Puerto Rico who created 1,256 original compositions. Even though his activities and influence were integral to the musical life of Puerto Rico in the twentieth century, many details of his life and works remain unknown. This project centers on Acosta’s contribution to the Puerto Rican tradition of the danza—a dance-based genre originating in the nineteenth century—through the study and arrangement of five of Acosta's danzas. Although Acosta composed most danzas for piano, he adapted them for performances by the municipal bands that he led in various towns. This practice of modifying his works for different instruments, as well as the importance of the guitar in Latin America, underpins the author’s choice to arrange his piano music for varied types of guitar combinations, including solo, duo, trio, and quartet. The five works are Bajo la sombra de un pino, Mercedes, Eres una santa, Dulce María, and In memoriam. The guitar arrangements of these five danzas are preceded by important information on the composer within the Puerto Rican music world, with emphasis on the intersections of the band and danza traditions. To enhance the study of these works, this document discusses basic stylistic features, including a comparison of forms, rhythms, and dance characters, and relates Acosta's treatment of the danza puertorriqueña to approaches of his Puerto Rican contemporaries. This document also includes performance guidelines to introduce Acosta's danza style to student and professional players. Based on primary biographical and musical sources, this study presents a foundation for a clearer understanding of the life and works of Acosta upon which further research, analysis, and criticism can be conducted. The arrangements offer a fresh look at new guitar repertoire using the peculiarities of rhythms and traditions of Puerto Rican and Carribean heritage. The arrangements also serve a pedagogical purpose by adding to the existing repertoire of ensemble music for the classical guitar.
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Wood, Ashley Elizabeth. "El Reguetón: Análisis Del Léxico De La Música De Los Reguetoneros Puertorriqueños." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/mcl_theses/6.

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This paper examines the linguistic qualities of reggaeton in order to determine to which extent the music represents the speech of the urban residents of Puerto Rico. The lyrics of this music are analyzed in order to see if they are used only within the context of reggaeton or if they are part of the Puerto Rican lexicon in general. The political context of Puerto Rico with respect to the United States is taken in to consideration with the formation of Anglicisms and the use of English. The paper summarizes the current knowledge of the Puerto Rican lexicon as well as two linguistic studies that focus on reggaeton as well as giving general background information on the genre. In the analysis section, 20 words that are commonly found in reggaeton songs are analyzed using two accredited dictionaries and three “urban dictionaries” in order to determine their meanings, uses and origins.
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Books on the topic "Conservatories of music Puerto Rico"

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Font, Cecilio R. La música en Puerto Rico. New York: Editorial Cidral, 2009.

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Font, Cecilio R. La música en Puerto Rico. New York: Editorial Cidral, 2009.

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La música en Puerto Rico. New York: Editorial Cidral, 2009.

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Degláns, Kerlinda. Catálogo de música clásica contemporánea de Puerto Rico. Río Piedras, Puerto Rico: Pro-Arte Contemporáneo, 1989.

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Martínez, Juan Carlos Vega. Breve historia de la música en Puerto Rico. San Juan: Colegio San Ignacio de Loyola, 2001.

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La poética del bolero en Cuba y Puerto Rico. San Juan, P.R: Isla Negra Editores, 2009.

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Vega, Pedro Malavet. Historia de la canción popular en Puerto Rico (1493-1898). Ponce, Puerto Rico: P. Malavet Vega, 1992.

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Ramos, Pablo Marcial Ortíz. A tres voces y guitarras: Los tríos en Puerto Rico. San Juan, P.R: [s.n.], 1991.

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Ramos, Pablo Marcial Ortíz. A tres voces y guitarras: Los tríos en Puerto Rico. 3rd ed. San Juan, P.R: [s.n.], 1999.

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Vega, Pedro Malavet. Navidad que vuelve: La tradición y el cantar navideño en Puerto Rico. Ponce, P.R: P. Malavet Vega, 1987.

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Book chapters on the topic "Conservatories of music Puerto Rico"

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Giovannetti, Jorge L. "Popular Music and Culture in Puerto Rico." In Musical Migrations, 81–98. New York: Palgrave Macmillan US, 2003. http://dx.doi.org/10.1057/9780230107441_6.

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Miller, Terry E., and Andrew Shahriari. "The Caribbean: Haiti, Jamaica, Trinidad and Tobago, Puerto Rico, Cuba, The Dominican Republic." In World Music, 341–82. Fifth edition. | New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780367823498-11.

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Hernández-Acosta, Javier J. "A Bottom-up Strategy for Music Cities: The Case of San Juan, Puerto Rico." In Music Cities, 127–43. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-35872-3_7.

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"The Caribbean: Haiti, Jamaica, Trinidad and Tobago, Puerto Rico, Cuba, The Dominican Republic." In World Music: A Global Journey, 363–404. Fourth edition. | New York ; London : Routledge, 2017. | "2017: Routledge, 2016. http://dx.doi.org/10.4324/9781315692791-17.

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Lapidus, Benjamin. "Puerto Rican Engagement With Jazz And Its Effects On Latin Music." In New York and the International Sound of Latin Music, 1940-1990, 197–230. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496831286.003.0005.

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This chapter explores how Puerto Rican and Nuyorican (New York-born Puerto Rican) musicians in New York City used jazz harmony, arranging, improvisation, and musical aesthetics to broaden the sound of Latin popular music from the postwar period into the 1990s and beyond. It argues that the Puerto Rican connection to jazz was extensive and encompassed a variety of styles and eras. The chapter challenges the debate over salsa's patrimony and development, by demonstrating how particular Puerto Rican musicians in New York City were fluent in jazz and incorporated it into Latin music. Much discourse has unfortunately centered on pitting Puerto Rican against Cuban musicians or looking only at commercial or sociocultural considerations when considering Latin music in New York. Proficiency in both jazz and Latin music allowed Puerto Rican musicians to innovate in ways that did not happen in Puerto Rico or elsewhere. The chapter also explores other themes discussed in the introduction, such as the importance of clave, the impact and extent of music education among Puerto Rican musicians, family lineages, the importance of folklore, and inter-ethnic collaboration.
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Lapidus, Benjamin. "Sonny Bravo, Típica 73, and the New York Sound." In New York and the International Sound of Latin Music, 1940-1990, 82–150. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496831286.003.0003.

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This chapter focuses on an in-depth study of Elio Osácar a.k.a. Sonny Bravo, whose career as an arranger and performer began in the 1950s. It examines the rise, fall, and return of Típica 73, a pan-ethnic salsa group representative of the period 1973–80 that featured musicians from Panama, Dominican Republic, Cuba, Puerto Rico, and New Yorkers of Cuban, Puerto Rican, and Mexican descent. The chapter recounts the story of a group who covered contemporary Cuban songs and pushed the boundaries of tradition through their instrumentation and performance. It introduces some key band members such as Sonny Bravo and Johnny Rodríguez who represented important New York–based familial and musical lineages. Their success was a direct result of musical innovation and negotiation. The band came to an abrupt end after a career-defining trip to Cuba, where they recorded with Cuban counterparts. Upon their return to the United States, they were branded as communist sympathizers. Ultimately, the chapter presents musical transcriptions of Bravo's arrangements and solos and places his music and his family, via his own father's musical career, within the historical context of early-twentieth-century Cuban migration to Tampa, Miami, and New York.
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Jones, Adanna Kai. "Practicing Jametteness: The Transmission of “Bad Behavior” as a Strategy of Survival." In Carnival Is Woman, 105–24. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496825445.003.0006.

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Caribbean bodies are sexually marked and recognized by their renowned abilities to roll their “its”—a skill informally learned at a very young age. This movement includes, at the very least, dexterous and vigorous rolls, gyrations, thrusts, and shakes of the hip, pelvis, and buttocks. It is colloquially known as “winin’” (or the wine) in Trinidad, Guyana, and Jamaica, “wukkin’-up” in Barbados, “despelote” in Cuba, “perreando” (or el perreo) in the Dominican Republic and Puerto Rico, and “gouye” (or the gouyad) in Haiti (just to name a few). The rolling “it” is often associated with festive spaces—such as Dancehall, Carnival, and parties—as well as with popular music genres like soca, dancehall-reggae, reguetón, and kompa.
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Ramos, E. Carmen. "Between Civilization and Barbarism." In Picturing Cuba, 30–50. University Press of Florida, 2019. http://dx.doi.org/10.5744/florida/9781683400905.003.0003.

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Art historian and curator E. Carmen Ramos focuses on the pioneering but problematic work of the nineteenth-century Spanish painter and caricaturist, Víctor Patricio de Landaluze, who spent much of his adult life in colonial Cuba. Despite his opposition to Cuba’s independence from Spain, Landaluze was one of the leading practitioners of costumbrismo (genre painting, or the literary and artistic representation of local customs) on the island, portraying human “types” such as Creole landowners, slaves, former slaves, mulatas, and guajiros (peasants). By the end of the nineteenth century, Landaluze had documented many aspects of Afro-Cuban daily life—including religion, music, and dance—all while, according to Ramos’s analysis, perpetuating the racial stereotypes of African savagery that was common in other former slave societies such as Brazil, the United States, and Puerto Rico. A close look at one of Landaluze’s most famous paintings, Corte de caña (Cutting Sugar Cane, 1874), reveals the racial anxieties among the peninsular Spanish, as well as some members of the Creole elite, provoked by the slaves’ emancipation and the war of national liberation in Cuba.
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