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Cuban Music Counterpoints traces the continuities and ruptures in the Cuban classical music scene between 1940 and 1991. The book focuses on specific events, objects, and compositions that reveal how composers forged connections with local and foreign composers, visual artists, writers, dancers, and film makers by placing them within emergent global, social, political, and cultural contexts.
Marysol Quevedo is Assistant Professor of Musicology at the University of Miami. Her research interests include 20th-century art music in Cuba, cultural diplomacy during the Cold War, art music networks throughout the 20th century, and music in film and visual media. She has published chapters in Experimentalisms in Practice and Experiencing Music and Visual Cultures and articles in the journals Cuban Studies and Boletín Música.
Introduction
1. Neoclassicism Meets 1940s Pan Americanism: The Grupo de Renovación Musical as the First Cuban School of Composition
2. The Sociedad Cultural Nuestro Tiempo: Precursor to the Cuban Revolutionary Cultural Projects, 1950-1958
3. A Decade of Revolution and Experimentation in Music: Grafting Experimentalism onto the Cuban Revolutionary-Socialist Trunk
4. Institutionalization and Fissures in the Cuban Classical Music Landscape: the 1970s
5. "Hacia nuevos horizontes": Electroacoustic Music and Globalization in 1980s Cuba
Epilogue: El 'período especial' que nunca termina/The Never-Ending Special Period
Bibliography
Index
