Bachata: A Social History of a Dominican Popular MusicTemple University Press, 1995 - 267 páginas Like rap in the United States, bachata began as a music of the poor and dispossessed. Originating in the shantytowns of the Dominican Republic, it reflects the social and economic dislocation of the poorest Dominicans. |
Contenido
Chapter One Defining Bachata | 1 |
Chapter Two Music and Dictatorship | 35 |
Chapter Three The Birth of Bachata | 71 |
Chapter Four Power Representation and Identity | 103 |
Chapter Five Love Sex and Gender | 153 |
Chapter Six From the Margins to the Mainstream | 185 |
Chapter Seven Conclusions | 225 |
Notes | 241 |
Bibliography | 247 |
Discography | 253 |
Términos y frases comunes
African amargue Amaro ampalla Aracena audience bachata musicians bachata producers bachata records bachata songs bachateros balada Balaguer band barrio began Blas Durán bolero broadcast called bachata cassettes chata colmados concón context Convite country's Cuban cultural dance Dias disc jockeys Dominican music Dominican musicians Dominican Republic Dominican society economic elite ensembles example genre Guerra guitar music guitar-based music Incháustegui interview Juan Luis Juan Luis Guerra Keil La Voz Dominicana Latin American Latin American Music listeners live Luis Segura mainstream merengue orquestas merengue típico middle-class migrants modern mujer music industry música musical style nueva canción orquesta merengue Paniagua pariguayo Petán played political poor popular music promoted Puerto Rico quiero Radhames Aracena Radio Guarachita radio stations Rafael Ramón Raulín Rodríguez romantic music rural origins salsa Santo Domingo sexual shantytowns singer singing social Sonia Silvestre sound studio term tion Tony Santos traditional Trujillo urban Víctor Víctor woman women