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Books on the topic 'Puerto Rican music'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

Listening to salsa: Gender, Latin popular music, and Puerto Rican cultures. Hanover, NH: University Press of New England, 1998.

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2

Acángana: 100 años de música puertorriqueña = 100 years of Puerto Rican music. [San Juan]: Fundación Banco Popular, 2000.

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3

My music is my flag: Puerto Rican musicians and their New York communities, 1917-1940. Berkeley: University of California Press, 1995.

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4

F, Thompson Annie, ed. Music and dance in Puerto Rico from the age of Columbus to modern times: An annotated bibliography. Metuchen, N.J: Scarecrow Press, 1991.

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5

Sotomayor, Aurea Maria. Femina Faber: Letras, musica, ley. San Juan, P.R: Ediciones Callejon, 2004.

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6

Explicit content. New York: New American Library, 2004.

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7

Sotomayor, Aurea María. Femina Faber: Letras, música, ley. San Juan, P.R: Ediciones Callejón, 2003.

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8

San Juan-New York: Discografía de la música puertorriqueña, 1900-1942. Río Piedras, P.R: Publicaciones Gaviota, 2009.

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9

Grandma's records. New York: Walker & Co., 2001.

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10

El dólar de la salsa: Del barrio latino a la industria global de fonogramas, 1971-1999. Madrid: Iberoamericana, 2014.

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11

Velasquez, Eric. Los discos de mi abuela. New York: Lectorum Publications, 2002.

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12

(Editor), Juan Flores, and Wilson A. Valentin-escobar (Editor), eds. Puerto Rican Music and Dance. Markus Wiener Pub, 2008.

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13

Puerto Rican Music and Dance. Markus Wiener Pub, 2008.

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14

Zimmerman, Marc. Puerto Rican and Chicano Crossovers in Latino Film and Music Culture. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036460.003.0001.

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This chapter examines the implications of Puerto Rican pop artists becoming marketed as Latinos. In spite of the U.S. Puerto Rican erasure in the very epistemology of Anglo America, and in spite of the negligible and negative representation of Puerto Ricans in film, Puerto Ricans, ironically enough, have participated significantly in subsuming Mexican and Chicano spaces in the configuration of Latino identities in United States and mainly Hollywood cinema. The chapter then argues that all the manipulations and appropriations labeled Hispanic or Latino are not simply imposed or created but are based on certain commonalities or affinities of identity that result not from some racial or otherwise essentialist base, but rather from the imposition, however uneven, of similar, Iberian-based cultural patterns emanating from the colonial and postcolonial periods.

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15

Annotated Bibliography of Writings about Music in Puerto Rico. Rowman & Littlefield Publishers, Incorporated, 1998.

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16

Fiol-Matta, Licia. Great Woman Singer: Gender and Voice in Puerto Rican Music. Duke University Press, 2017.

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17

The great woman singer: Gender and voice in Puerto Rican music. 2017.

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18

Banco Popular de Puerto Rico., ed. Acángana: 100 años de música Puertorriqueña = 100 years of Puerto Rican music. San Juan, Puerto Rico: Banco Popular, 2000.

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19

Frontera, Nélida Muñoz de. A study of selected nineteenth century Puerto Rican composers and their musical output. ny university, 1988.

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20

Glasser, Ruth. My Music Is My Flag: Puerto Rican Musicians and Their New York Communities, 1917-1940. University of California Press, 1995.

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21

My Music Is My Flag: Puerto Rican Musicians and Their New York Communities, 1917-1940 (Latinos in American Society & Culture). University of California Press, 1997.

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22

Blizard, Ralph. 1992 Neptune Plaza Concert Series collection. 1992.

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23

Godreau, Isar P. Irresolute Blackness. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038907.003.0008.

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This chapter examines how the showcasing of black folklore in San Antón requires work and ideological maneuvering. Dynamics of representation of “community” varied a great deal depending on whether such public events were organized for residents or for a broader national audience. Local events such as Christmas dinners, Mother's Day celebrations, and Father's Day celebrations were mostly organized around religious activities, family oriented or preestablished holidays. In contrast, public events targeted to an outside audience centered on Afro-Puerto Rican or Afro-Antillean music and predominantly bomba and plena. The chapter then illustrates that far from being “in the blood” or neutral and carefree or an externally motivated process, the marking and celebration of San Antón as place of black folklore is driven by the community itself in a way that requires a great deal of work and the assertive leadership of community members from within.

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24

Mambo Kingdom: Latin Music In New York. Schirmer Trade Books, 2002.

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25

Velasquez, Eric. Grandma's Records. Turtleback Books Distributed by Demco Media, 2004.

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26

Grandma's Records. Walker Books for Young Readers, 2004.

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27

(Editor), Ray Allen, and Lois Wilcken (Editor), eds. ISLAND SOUNDS IN GLOBAL CITY: Caribbean Popular Music and Identity in New York. University of Illinois Press, 2001.

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28

Manuel, Peter, Donald Hill, Les Slater, Juan Flores, Ruth Glasser, Paul Austerlitz, and Philip Kasinitz. Island Sounds in the Global City: Caribbean Popular Music & Identity in New York. New York Folklore Society, 1998.

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29

Ray, Allen, and Wilcken Lois, eds. Island sounds in the global city: Caribbean popular music and identity in New York. New York: New York Folklore Society, 1998.

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30

Congress), Archive of Folk Culture (Library of. Lowell Folklife Project collection. 1987.

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