Bibliografías temáticas / Puerto Rican music

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Literatura académica sobre el tema "Puerto Rican music"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 5 de febrero de 2022

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Artículos de revistas sobre el tema "Puerto Rican music"

Espada-Brignoni, Teófilo y Frances Ruiz-Alfaro. "Culture, Subjectivity, and Music in Puerto Rico". International Perspectives in Psychology 10, n.º 1 (enero de 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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Padilla, Felix M. "Salsa: Puerto Rican and Latino music". Journal of Popular Culture 24, n.º 1 (junio de 1990): 87–104. http://dx.doi.org/10.1111/j.0022-3840.1990.00087.x.

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Schramm, Adelaida Reyes y Ted Solis. "Puerto Rican Music in Hawai'i. Kachi-kachi". Yearbook for Traditional Music 24 (1992): 177. http://dx.doi.org/10.2307/768499.

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Sommers, Laurie Kay y Ted Solis. "Kachi-Kachi, Puerto Rican Music in Hawai'i". Latin American Music Review / Revista de Música Latinoamericana 13, n.º 1 (1992): 130. http://dx.doi.org/10.2307/780066.

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Howard, Karen. "Puerto Rican Plena: The Power of a Song". General Music Today 32, n.º 2 (16 de noviembre de 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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de Arce, Daniel Mendoza. "Domingo Delgado Gomez (1806-56): Puerto Rican Master Composer". Latin American Music Review / Revista de Música Latinoamericana 16, n.º 2 (1995): 154. http://dx.doi.org/10.2307/780371.

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Dudley, Shannon y Frances Aparicio. "Listening to Salsa: Gender, Latin Popular Music, and Puerto Rican Cultures". Yearbook for Traditional Music 31 (1999): 156. http://dx.doi.org/10.2307/767997.

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Duany, Jorge, Jeremy Marre, Hannah Charlton, Pedro A. Rivera, Susan Zeig y A. G. Quintero Rivera. ""Salsa," "Plena," and "Danza": Recent Materials on Puerto Rican Popular Music". Latin American Music Review / Revista de Música Latinoamericana 11, n.º 2 (1990): 286. http://dx.doi.org/10.2307/780128.

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Waxer, Lise y Frances R. Aparicio. "Listening to Salsa: Gender, Latin Popular Music, and Puerto Rican Cultures". Latin American Music Review / Revista de Música Latinoamericana 20, n.º 1 (1999): 148. http://dx.doi.org/10.2307/780169.

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Spitta, Silvia. "Listening to Salsa: Gender, Latin Popular Music, and Puerto Rican Cultures". MLN 114, n.º 2 (1999): 434–36. http://dx.doi.org/10.1353/mln.1999.0016.

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Tesis sobre el tema "Puerto Rican music"

Hernandez, Alberto Hector. "Puerto Rican piano music of the nineteenth century /". Access Digital Full Text version, 1990. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10936671.

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Moore, José Leonardi. "An Analysis and Performance Editions of Five Puerto Rican Danzas for String Quartet". Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/594371.

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This document examines the history and characteristics of the danza in Puerto Rico, offering a brief historical description from its evolution in the mid-nineteenth century to the present day. This document also outlines the form of this genre to educate the reader on the different elements and sections included in these pieces. Five works from this genre are included, and newly edited versions are provided with fingering, bowing, and articulation suggestions. These works are intended for intermediate and advanced string players. The Royal Conservatory of Music's grade-by-grade rubric is used to classify these pieces by level. Two of these danzas are classified as Intermediate and three are classified as Advanced, based on the techniques required to play these pieces. Information about some of the most important chamber music ensembles in Puerto Rico, and a brief explanation of rhythm and performance approach, are included to offer a better idea of how to perform these pieces. The "elasticity of triplets," which is the basic rhythmic figure used in these danzas, is explained in detail to help the string players understand the performance practice used while performing these pieces. An entire section is dedicated to the composers and arrangers, with biographical information, as well as information about their compositions. A detailed explanation of suggested fingerings, bowings, and articulations is provided. Original parts and new, digitized versions of these arrangements are also included. The result of this research shows that these pieces are a valuable addition to the string quartet repertoire. The appealing melodies, in conjunction with the technical challenges, will help students achieve a great level of performance without exceeding their technical abilities.

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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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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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Bofill-Calero, Jaime Oscar. "Improvisation in Jíbaro Music: A Structural Analysis". Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/293561.

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Improvisation is regarded as the most sublime element in the jíbaro folk music tradition of Puerto Rico. This tradition originated by the jíbaro, the simple rural farmer of Puerto Rico's heartland, involves the complicated art of improvising in décima, a ten-line poetic form, as well as improvisation of melodic lines played on the cuatro, a small guitar-like instrument. Since jíbaro improvisation is an art that is transmitted orally and involves a seemingly spontaneous act, it might seem odd to talk about a theory of improvisation within this style of music. My ethnographic research however has revealed that improvisation in jíbaro music is actually a highly structured performance practice and involves an informal theory that is based on the knowledge of archetypal patterns that generate and organize jíbaro improvisations.Recent theories of music which establish parallels between music, language, and cognition (Lerdhal and Jackendoff; Clarke; Gjerdingen) have lead me to believe that improvisation in jíbaro music is generated by the combination of archetypal patterns that create a musical syntax. These patterns are stored in minds of jíbaro performers as cognitive schemas. My study is also based on the work of Puerto Rican scholars Luis M. Alvarez and Angel Quintero who have identified African rhythmic patterns as the generative musical source in many styles of Puerto Rican folk music. By combining theories of music and ethnographic methods, this paper will provide a greater understanding of orally transmitted cultural expressions, which utilize improvisation, as well as give insight to the cognitive processes that shape this performance practice.

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Negron, Victor E. "The impact of the recreative and cultural project on Puerto Rican students after graduation from high school /". Access Digital Full Text version, 1994. http://pocketknowledge.tc.columbia.edu/home.php/bybib/1171444x.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1994.
Typescript; issued also on microfilm. Sponsor: Margaret Terry Orr. Dissertation Committee: Francis A. J. Ianni. Includes bibliographical references (leaves 125-131).

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Padin, Jose Antonio. "The redefinition of national identity the Afro-Caribbean sources of Puerto Rican culture and music /". 1989. http://catalog.hathitrust.org/api/volumes/oclc/19731683.html.

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Thesis (M.S.)--University of Wisconsin--Madison, 1989.
Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 111-119).

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Rodriguez-Rodriguez, Aixa L. "Music as a form of resistance: A critical analysis of the Puerto Rican new song movement's oppositional discourse". 1995. https://scholarworks.umass.edu/dissertations/AAI9541145.

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This is a critical analysis of the music of the Puerto Rican new song movement placed within the cultural and political dynamics of Puerto Rican society. Its focus is the relationship between popular music and cultural politics using the music of the new song movement as a case study. The study is a discourse analysis of a sample of song texts that elucidates the elements and characteristics that define the new song's discourse as an oppositional one. In addition, this study explores possible reasons why that oppositional discourse did not interpellate larger segments of the popular classes, or why it did not become a hegemonic discourse. This inquiry places the song texts in the context of the colonial relationship between Puerto Rico and the United States in order to study the sample using a combination of theoretical perspectives. The study draws from Latin American approaches to the analysis of popular culture, from Antonio Gramsci's theory of hegemony and from various interpretations of Puerto Rican cultural identity. It also studies the texts' articulation of a pro-independence ideology as a key aspect of its oppositional discourse. This analysis sheds light on the relationship between popular culture, cultural identity and nationalism in Puerto Rico. The discourse analysis showed that the Puerto Rican new song movement created a discourse in opposition to the dominant political, economic, military and cultural discourses articulating Puerto Rican society during the 1970's and early 1980's. The discourse of the new song movement was anti-capitalist, anti-colonialist, anti-militarist and advocated Puerto Rico's independence. In its song texts the movement reflected its subscription to several oppositional discourses articulated by pro-independence groups in Puerto Rico. The music of the new song movement served as a form of resistance to the conditions of colonialism in Puerto Rico.

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Cancel-Bigay, Mario R. "Sounds that Fall Through the Cracks, and Other Silences and Acts of Love: Decoloniality and Anticolonialism in Puerto Rican Nueva Canción and Chanson Québécoise". Thesis, 2021. https://doi.org/10.7916/d8-ydm5-4t46.

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Sounds that Fall Through the Cracks, and Other Silences and Acts of Love tells the story of a dozen cosmopolitan socially aware singer-songwriters, poets and musicians of different racial, ethnic and national backgrounds who developed their political consciousness by thinking within/through the colonial problematic of Québec or Puerto Rico in the 1960s and 1970s. Five interrelated claims give coherence to this work: a) grasping the decolonial import of socially aware repertoires needs to attend to the meeting point among sound, music, lyrical content, and the interlocutor’s perspective on the musical object; b) understanding the historical contexts which shaped each interlocutor’s life is necessary to fully comprehend her political-aesthetic choices; c) when incorporating the interlocutor’s way of imagining the past one must pay attention to the ways in which that past has been historicized d) reflecting on how the other is inscribed in sound and word needs to account for how that other envisions herself and; e) these critical assessments must be developed “theorizing with your interlocutor” in a relentless back and forth informed by love and friendship that takes seriously the critical import of the interlocutor and considers his needs and desires. Combined, these claims are conducive to a critical analysis that is historically rigorous, ethical and fair to the interlocutor and the other to the extent that the unavoidable limitations of the researcher allows for. By departing from spaces where the eye meets the ear, logos and phono entwine, the historical context shapes the musical object and vice versa, fieldwork and life are fused, and the interlocutor is treated not only as a producer of culture but as a thinker in her own right, I problematize four major categories: Puerto Rican nueva canción (PRNC), chanson québécoise (CQ), the related anticolonial narratives that frame these musics, and the category “the decolonial.” Regarding the latter, I pay careful attention to the relationship between bodies of knowledge around the colonial, such as postcolonial, Latin American decolonial, settler colonial and anticolonial studies. Edouard Glissant has argued that “generalization” is one of the manifestations of a “totalitarian root” because “from the world it chooses one side of the reports, one set of ideas, which it sets apart from others and tries to impose by exporting as a model” (2010 [1990]: 20). Inspired in part by the Martiniquais philosopher and poet, my overall argument is that decolonizing knowledge must involve a collective praxis of “theorizing with your interlocutor” that in addition to assessing how colonial logics are reproduced and proposing ways to contest them, must challenge the “totalitarian” and individualist “root” of academic discourse. In order to develop this collective praxis, I walk hand in hand with my interlocutors/friends Américo Boschetti, Frank Ferrer, Bernardo Palombo, Jesús Papoleto Meléndez, Hilcia Montañez, Oscar Pardo, Sandra María Esteves, Suni Paz, Sylvain Leroux, Marie-Claire Séguin, Rouè Doudou Boicel, Lise Vachon and Georges Rodriguez, and other decolonial and anticolonial thinkers.

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"Discovering Puerto Rican Art Song: A Research Project on Four Art Song Works by Héctor Campos Parsi". Doctoral diss., 2013. http://hdl.handle.net/2286/R.I.17835.

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abstract: Puerto Rico has produced many important composers who have contributed to the musical culture of the nation during the last 200 years. However, a considerable amount of their music has proven to be difficult to access and may contain numerous errors. This research project intends to contribute to the accessibility of such music and to encourage similar studies of Puerto Rican music. This study focuses on the music of Héctor Campos Parsi (1922-1998), one of the most prominent composers of the 20th century in Puerto Rico. After an overview of the historical background of music on the island and the biography of the composer, four works from his art song repertoire are given for detailed examination. A product of this study is the first corrected edition of his cycles Canciones de Cielo y Agua, Tres Poemas de Corretjer, Los Paréntesis, and the song Majestad Negra. These compositions date from 1947 to 1959, and reflect both the European and nationalistic writing styles of the composer during this time. Data for these corrections have been obtained from the composer's manuscripts, published and unpublished editions, and published recordings. The corrected scores are ready for publication and a compact disc of this repertoire, performed by soprano Melliangee Pérez and the author, has been recorded to bring to life these revisions. Despite the best intentions of the author, the various copyright issues have yet to be resolved. It is hoped that this document will provide the foundation for a resolution and that these important works will be available for public performance and study in the near future.
Dissertation/Thesis
D.M.A. Music 2013

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Libros sobre el tema "Puerto Rican music"

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

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

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

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

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

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

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

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

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Capítulos de libros sobre el tema "Puerto Rican music"

Lapidus, Benjamin. "Puerto Rican Engagement With Jazz And Its Effects On Latin Music". En 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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Fernández, Johanna. "The Church Offensive". En The Young Lords, 155–92. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469653440.003.0007.

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In winter 1969, the Young Lords recited scripture, channeled the revolutionary Jesus, and occupied the First Spanish United Methodist Church for its indifference to social violence, which combined with its promises of happiness in the hereafter, they argued, cloaked a project of social control. Rechristened, The People’s Church, the Lords’ prefigurative politics and project included a free medical clinic and redress of community grievances and needs, from housing evictions to English translation at parent-teacher meetings. Their hot morning meals to poor school-aged children became what is now the federal school breakfast program. As antidote to the erasure of culture and history that accompanied colonization and slavery in the Americas, they sponsored alternatives to public school curricula on the Puerto Rican independence movement, black American history, and current events. In the evening, they curated spurned elements of Afro-Puerto Rican culture and music performed by underground Nuyorican Poets and new genres of cultural expression, among them the spoken word poetry jam, a precursor to hip hop. They served revolutionary analysis with Mutual Aid. Their daily press conferences created a counternarrative to representations of Puerto Ricans as junkies, knife-wielding thugs, and welfare dependents that replaced traditional stereotypes with powerful images of eloquent, strategic, and candid Puerto Rican resistance.

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Njoroge, Njoroge. "“Cosa Nuestra”". En Chocolate Surrealism. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496806895.003.0005.

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This chapter explores the history of Salsa in New York City. In the late 1960’s Salsa became the vehicle for the cultural expressions of community, aesthetics, and identity for the Puerto Ricans, Nuyoricans, and other Latinos. Salsa was a musical celebration and valorization of Nuyorican identity and became the voice of the alienated and disenfranchised barrio youth in New York City and beyond. Though in the main, its practitioners heralded from the Puerto Rican diaspora: from its very inception “salsa” has been a pan-Caribbean creation. With the Cuban Revolution, the subsequent recording ban of 1961 and the embargo of 1962, New York City displaced Havana as the center of Latin music. After the brief but rich Boogaloo explosion of the mid-Sixties, salsa took over the airwaves and dance-floors. If Boogaloo can be seen as an anticipation of and response to the Civil Rights movement, salsa was “Black Power.”

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"PUERTO RICAN ENGAGEMENT WITH JAZZ AND ITS EFFECTS ON LATIN MUSIC". En New York and the International Sound of Latin Music, 1940-1990, 197–230. University Press of Mississippi, 2020. http://dx.doi.org/10.2307/j.ctv1fkgc88.9.

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Cassidy Parker, Elizabeth. "Interlude". En Adolescents on Music, 205. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190671358.003.0026.

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My name is Anna and I am a Puerto Rican. I am 15 years old—I have been singing since I could talk. I had a teacher when I was younger that told me that I was not good enough to be in the choir, and I almost gave up. Then I met a new teacher who believed in me and pushed me to do more. My dedication for music grew to what it is today. I wanted to prove my old teacher wrong, but I still worry that I am not good enough, so I joined an after-school program where I heard they were giving free lessons. I originally joined for guitar, but when the teachers heard me sing, they encouraged me to sing for the after-school band. I have been singing for five months now and I love it! It gives me joy, and my love for music is stronger!...

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Lapidus, Benjamin. "Latin music education in new york". En New York and the International Sound of Latin Music, 1940-1990, 3–53. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496831286.003.0001.

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This chapter details the longstanding formal and informal Latin music education settings and networks in New York City, as well as some of the ways in which the musicians benefited from them. It introduces three Puerto Rican women, from the 1920s through 1950s, who taught some of the greatest pianists to emerge from the New York scene. The chapter then presents a Panamanian pianist and a Cuban flautist who imparted musicianship, theory, and piano lessons to countless musicians who were influential performers, composers, and arrangers. The Afro-Latin folkloric music scene in New York was an incubator for musical innovation and preservation; musicians from across ethnic groups have studied, performed, and recorded ritual and folkloric genres. New York City, unlike sites within the Caribbean, offered a wide range of formal and informal study opportunities for musicians from throughout the Caribbean. It explores some of the institutions that served as meeting grounds for musicians, and provided both rehearsal and performance opportunities for aspiring musicians.

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Sloan, Nate, Charlie Harding y Iris Gottlieb. "Finding Home in the Harmonic Diaspora". En Switched On Pop, 136–45. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190056650.003.0015.

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Chapter 14 listens to Lusi Fonsi and Daddy Yankee’s “Despacito,” which reinvigorated the market for Latin pop and mainstreamed the sound of reggaetón for a new generation, hybridizing new and classic forms of Puerto Rican music into an international smash hit. The song’s success is due in part to a more subtle feature: its use of a classic chord progression called the Axis, which has the unique property of being able to generate two tonal homes at once. It is impossible to say whether “Despacito” is in a major key or a minor key, a pleasantly disorienting effect that also sets to music the migratory identities of its composers.

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Lapidus, Benjamin. "Sonny Bravo, Típica 73, and the New York Sound". En 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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Lapidus, Benjamin. "Strings and Skins". En New York and the International Sound of Latin Music, 1940-1990, 54–81. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496831286.003.0002.

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This chapter outlines the important history and role of craftsmen based in New York City who produced and repaired traditional instruments used in the performance of Latin music. It introduces individuals who came from Cuban, Puerto Rican, Dominican, and Jewish communities, and examines how their instruments physically represented the actual sound of Latin Music to New York and the world on widely disseminated recordings. Many of these instrument makers also sold their instruments beyond New York City and the United States. The chapter also discusses the work of builders and musicians in New York City to create and modify the tools used to forge the sound of Latin music and diffuse both the instruments and their aesthetic throughout the world. Ultimately, the chapter seeks to unify into one coherent narrative, the efforts of folklorists, journalists, and authors who paid attention to the origins of hand percussion instruments in New York, their subsequent mass production, and the people who built the instruments used to play Latin music in New York City.

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Miller, Sue. "Charanga Embalao". En Improvising Sabor, 144–68. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496832153.003.0007.

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This chapter features the work of charanga flute player Johnny Pacheco in New York before he became known as the creator of the Fania All Stars, and also the work of pianist Charlie Palmieri and his Charanga La Duboney. The Puerto-Rican brothers Eddie and Charlie Palmieri have been highly influential in the development of Latin music in the United States. While Eddie Palmieri’s La Perfecta utilized the charanga flute of George Castro, Charlie Palmieri’s charanga (one of the first to play the Palladium), featured flautists Johnny Pacheco and Rod Lewis Sánchez. Flute solos by Pacheco and Sánchez on the Charanga Duboney recordings of ‘Bronx Pachanga’ and ‘Mack the Knife’ are analyzed here to ascertain whether a distinctive New York sabor is present.

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