Listening in Detail: Performances of Cuban Music

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Illustrations ix
Acknowledgments xi
Introduction 1
1. Performing Anthology: The Mystical Qualities of Alfredo Rodriguez's Cuba Linda 43
2. "Una Escuela Rara": The Graciela School 93
3. Itinerant Outbursts: The Grunt of Damaso Perez Prado 131
4. Visual Arrangements, Sonic Impressions: The Cuban Musical Documentaries of Rogelio Paris and Sara Gomez 165
5. Cold War Kids In Concert 203
Notes 235
Bibliography 301
Index 319

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Listening in Detail is an original and impassioned take on the intellectual and sensory bounty of Cuban music as it circulates between the island, the United States, and other locations. It is also a powerful critique of efforts to define "Cuban music" for ethnographic examination or market consumption. Contending that the music is not a knowable entity but a spectrum of dynamic practices that elude definition, Alexandra T. Vazquez models a new way of writing about music and the meanings assigned to it. "Listening in detail" is a method invested in opening up, rather than pinning down, experiences of Cuban music. Critiques of imperialism, nationalism, race, and gender emerge in fragments and moments, and in gestures and sounds through Vazquez's engagement with Alfredo Rodríguez's album Cuba Linda (1996), the seventy-year career of the vocalist Graciela Pérez, the signature grunt of the "Mambo King" Dámaso Pérez Prado, Cuban music documentaries of the 1960s, and late-twentieth-century concert ephemera.

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Listening in Detail stands alone in its discussion of the important music of greater Cuba. . . . Thoroughly researched and featuring fine literary references, this is a rich resource for advanced students and scholars of music and Cuban studies

Listening in Detail stands alone in its discussion of the important music of greater Cuba. . . . Thoroughly researched and featuring fine literary references, this is a rich resource for advanced students and scholars of music and Cuban studies." -- L. E. Shaw

Theatre Research International

Listening in Detail is a necessary book for those who work within the disciplines of performance studies, musicology, sound studies, postcolonial studies and critical race studies. Because of its methodological framework and its unique exploration of inscription and fugitivity, the book will also be of particular use to those who research at the nexus of cultural studies and media theory." -- Michael Nardone

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