A Contratiempo: revista de música en la cultura, 2010
Bauzá-Gillespie-Jazz/Música Latina: diferencia, modernidad y el Caribe Negro 'Deehee no peek pani... more Bauzá-Gillespie-Jazz/Música Latina: diferencia, modernidad y el Caribe Negro 'Deehee no peek pani, me no peek Angli, bo peek African'Nota de la traductora: El sentido de esta frase es "él no habla español, yo no hablo inglés, nosotros hablamos africano". En las memorias de Gillespie, él escribe esto en media lengua, imitando a Chano Pozo.');' onmouseout='tooltip.hide();'>1 -Luciano ''Chano'' Pozo, contado por Dizzy Gillespie En su autobiografía, to BE, or not… to BOP, John Birks "Dizzy" Gillespie considera que "desde el principio, las melodías que yo escribía, cosas como "Pickin' the Cabbage", sonaban algo latinas o se expresaban mediante un sentimiento latino, que era como poner salsa picante antillana en unos frijoles negros, o chiles cubanos en un plato de macarrones" (199). ( ) 1 . De inmediato, Gillespie recurre a las figuras que moldearon su afinidad con la música latina y nota que "esto en parte muestra la influencia de Mario Bauzá y de Alberto Socarrás ". "Pero instintivamente", yo siempre tuve ese toque latino. Probablemente habría que psicoanalizarme para descubrir de dónde venía, pero desde hacía mucho tiempo yo llevaba dentro los polirritmos. Quizá yo sea una de esas "pervivencias africanas 1 " que quedaron después de la esclavitud entre los negros de Carolina del Sur". Los vívidos desplazamientos metafóricos de Gillespie (del paladar al oído, de la estufa al atril), el agenciamiento individual de sus mentores musicales, su alusión a un archivo de memoria cultural enterrado en lo profundo, y la especificidad de su localización norteamericana sud-atlántica, forman un escenario de elementos mutuamente dependientes en el que él inscribe un hecho histórico conocido: la fuerte presencia de lo que él llama música "latina" en su práctica como músico de jazz. La implantación histórica de formas y estilos musicales enraizados en el Caribe Español al interior del jazz, es objeto de mucha especulación (La versión estandarizada de esta relación, presentada como una narrativa lineal, aparece en The Latin Tinge: The Impact of Latin American Music on the United States (El Matiz Latino: El Impacto de la Música Latinoamericana en los Estados Unidos) y en Latin Jazz: The First of the Fusions, 1880s to Today (Jazz Latino:
Musical Representations. Subjects, and Objects The Construction of Musical Tliouqht in Zarlino, D... more Musical Representations. Subjects, and Objects The Construction of Musical Tliouqht in Zarlino, Descartes, Rameau, and Weber JA1RO MORENO In his book, Jairo Moreno traces the emer-gence, consolidation, and decline of several diflerent theoretical systems, or " ...
When Foucault's The Order of Things (Les mots et les choses) came out in 1966, it became, im... more When Foucault's The Order of Things (Les mots et les choses) came out in 1966, it became, implausibly enough, the closest thing to a smash hit a heavy-going academic tome can be. The Order of Things became re-quired reading for the French educated class, far beyond the usual ...
Jeffrey T. Nealon proposes that “twenty-first-century American biopolitical subjectivity” has as ... more Jeffrey T. Nealon proposes that “twenty-first-century American biopolitical subjectivity” has as its “overarching logic” an arrangement in which being for something signifies a content-less affirmation: “I’m not like everyone else.” For Nealon, this “excorporative” logic grows out of, coincides with, and exhausts rock music’s discourses of authenticity from the second half of the twentieth century. Today, an endlessly interconnected network emerges in which old forms of cultural “individualism” become ever-interchangeable modes of “hip commodity consumption,” indexing a neoliberal regime that renders “everybody” into “prosumers” (producers-consumers). This review-essay considers the extent and limits of this proposal, querying Nealon’s understanding of listening and aurality and indicating the challenges presented by bypassing the mesopolitical in an effort to outline the macropolitics of consumption and the micropolitics of individuality.
Not long ago, in the midst of a jazz-quartet session in which I was partic-ipating, the recording... more Not long ago, in the midst of a jazz-quartet session in which I was partic-ipating, the recording engineer complained about what he called the "radiator noise" the pianist made while playing, a hisslike sound that closely followed the pitches of his improvisation. After the ...
This article is part of a special forum titled “Ethnic Diversity in Music Theory: Voices from the... more This article is part of a special forum titled “Ethnic Diversity in Music Theory: Voices from the Field.” Diversity has a relatively short but complex history inseparable from a vexing politics of cultural recognition in, and economic access to, American higher-education institutions. The authors consider this history along three interrelated axes—juridical, socio-political, and subjective—in order to discern the relation of
A Contratiempo: revista de música en la cultura, 2010
Bauzá-Gillespie-Jazz/Música Latina: diferencia, modernidad y el Caribe Negro 'Deehee no peek pani... more Bauzá-Gillespie-Jazz/Música Latina: diferencia, modernidad y el Caribe Negro 'Deehee no peek pani, me no peek Angli, bo peek African'Nota de la traductora: El sentido de esta frase es "él no habla español, yo no hablo inglés, nosotros hablamos africano". En las memorias de Gillespie, él escribe esto en media lengua, imitando a Chano Pozo.');' onmouseout='tooltip.hide();'>1 -Luciano ''Chano'' Pozo, contado por Dizzy Gillespie En su autobiografía, to BE, or not… to BOP, John Birks "Dizzy" Gillespie considera que "desde el principio, las melodías que yo escribía, cosas como "Pickin' the Cabbage", sonaban algo latinas o se expresaban mediante un sentimiento latino, que era como poner salsa picante antillana en unos frijoles negros, o chiles cubanos en un plato de macarrones" (199). ( ) 1 . De inmediato, Gillespie recurre a las figuras que moldearon su afinidad con la música latina y nota que "esto en parte muestra la influencia de Mario Bauzá y de Alberto Socarrás ". "Pero instintivamente", yo siempre tuve ese toque latino. Probablemente habría que psicoanalizarme para descubrir de dónde venía, pero desde hacía mucho tiempo yo llevaba dentro los polirritmos. Quizá yo sea una de esas "pervivencias africanas 1 " que quedaron después de la esclavitud entre los negros de Carolina del Sur". Los vívidos desplazamientos metafóricos de Gillespie (del paladar al oído, de la estufa al atril), el agenciamiento individual de sus mentores musicales, su alusión a un archivo de memoria cultural enterrado en lo profundo, y la especificidad de su localización norteamericana sud-atlántica, forman un escenario de elementos mutuamente dependientes en el que él inscribe un hecho histórico conocido: la fuerte presencia de lo que él llama música "latina" en su práctica como músico de jazz. La implantación histórica de formas y estilos musicales enraizados en el Caribe Español al interior del jazz, es objeto de mucha especulación (La versión estandarizada de esta relación, presentada como una narrativa lineal, aparece en The Latin Tinge: The Impact of Latin American Music on the United States (El Matiz Latino: El Impacto de la Música Latinoamericana en los Estados Unidos) y en Latin Jazz: The First of the Fusions, 1880s to Today (Jazz Latino:
Musical Representations. Subjects, and Objects The Construction of Musical Tliouqht in Zarlino, D... more Musical Representations. Subjects, and Objects The Construction of Musical Tliouqht in Zarlino, Descartes, Rameau, and Weber JA1RO MORENO In his book, Jairo Moreno traces the emer-gence, consolidation, and decline of several diflerent theoretical systems, or " ...
When Foucault's The Order of Things (Les mots et les choses) came out in 1966, it became, im... more When Foucault's The Order of Things (Les mots et les choses) came out in 1966, it became, implausibly enough, the closest thing to a smash hit a heavy-going academic tome can be. The Order of Things became re-quired reading for the French educated class, far beyond the usual ...
Jeffrey T. Nealon proposes that “twenty-first-century American biopolitical subjectivity” has as ... more Jeffrey T. Nealon proposes that “twenty-first-century American biopolitical subjectivity” has as its “overarching logic” an arrangement in which being for something signifies a content-less affirmation: “I’m not like everyone else.” For Nealon, this “excorporative” logic grows out of, coincides with, and exhausts rock music’s discourses of authenticity from the second half of the twentieth century. Today, an endlessly interconnected network emerges in which old forms of cultural “individualism” become ever-interchangeable modes of “hip commodity consumption,” indexing a neoliberal regime that renders “everybody” into “prosumers” (producers-consumers). This review-essay considers the extent and limits of this proposal, querying Nealon’s understanding of listening and aurality and indicating the challenges presented by bypassing the mesopolitical in an effort to outline the macropolitics of consumption and the micropolitics of individuality.
Not long ago, in the midst of a jazz-quartet session in which I was partic-ipating, the recording... more Not long ago, in the midst of a jazz-quartet session in which I was partic-ipating, the recording engineer complained about what he called the "radiator noise" the pianist made while playing, a hisslike sound that closely followed the pitches of his improvisation. After the ...
This article is part of a special forum titled “Ethnic Diversity in Music Theory: Voices from the... more This article is part of a special forum titled “Ethnic Diversity in Music Theory: Voices from the Field.” Diversity has a relatively short but complex history inseparable from a vexing politics of cultural recognition in, and economic access to, American higher-education institutions. The authors consider this history along three interrelated axes—juridical, socio-political, and subjective—in order to discern the relation of
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