978-0-8108-6204-3 • Hardback • October 2008 • $103.00 • (£79.00)
978-1-4616-7029-2 • eBook • October 2008 • $97.50 • (£72.00)
Benjamin Lapidus is assistant professor of music at John Jay College of Criminal Justice, CUNY. He has published in Ethnomusicology, Latin Beat Magazine, and the Journal of the Center for Puerto Rican Studies.
Part 1 Foreword
Part 2 Preface
Part 3 Acknowledgements
Part 4 Introduction
Chapter 5 1. Guantánamo and the Greater Oriente Region
Chapter 6 2. Como se toca se baila, como se baila se toca: The Instruments and Their Roles in the Changüí Ensemble
Chapter 7 3. Styles of Tres Improvisation
Chapter 8 4. Historicity and Self-Referencing in Changüí Songs
Chapter 9 5. The Changüí Complex In Guantánamo
Chapter 10 6. Variations of Changüí Outside of Guantánamo
Chapter 11 7. The Afro-Haitian Presence in Eastern Cuba and its Significance in the Development of the Cuban Son
Chapter 12 8. Cultural Festivals and Musical Competitions in Guantánamo and Oriente
Part 13 Conclusion: Changüí, Son, and the Pan-Caribbean Perspective
Part 14 Bibliography
Part 15 Index
Part 16 About the Author
Lapidus synthesizes his ethnographic and historical research to present an indispensable text on one of Cuba's and the Caribbean's least documented and studied musical and dance genres. The author argues for an ethnographically-based alternative to the standard evolutionary construction of the Cuban son's historical development by showing that changüí, nengón, and kiribá—the son's perceived “antecedents”—are not only distinct in their performative dimensions, but they also continue to contribute in their own idiosyncratic ways to the local and contemporary soundscape of Guantanamo. Herein lies Lapidus's major scholarly contribution to the kind of popular music studies that eschews a linear evolutionary framework of music history and instead focuses on the meanings generated where memory, history, performance, and the local, national, and transnational intersect.
— David F. García, assistant professor, ethnomusicology, UNC - Chapel Hill
In this ground-breaking study of changüí, Ben Lapidus sheds light on a lesser-known but important genre of Cuban music, providing detailed analysis of its musical form while at the same time situating it in the broader context of eastern Cuba's unique history and music culture.
— Peter L. Manuel, John Jay College and the Graduate Center, CUNY