Preface to the Second Edition |
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ix | |
The Caribbean at a Glance |
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xiii | |
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Introduction: The Caribbean Crucible |
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1 | (18) |
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3 | (3) |
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6 | (4) |
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Patterns of Musical Retention |
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10 | (2) |
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12 | (2) |
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14 | (4) |
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18 | (1) |
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19 | (46) |
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19 | (2) |
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21 | (1) |
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22 | (5) |
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27 | (3) |
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A Music Festival in Santiago de Cuba |
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30 | (3) |
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33 | (10) |
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The Son and Modern Cuban Dance Music |
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43 | (11) |
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``Socialism with Pachanga'' |
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54 | (5) |
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The ``Special Period'' and Its Special Music |
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59 | (2) |
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Coda: Revisiting Havana---and Miami, 2004 |
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61 | (2) |
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63 | (1) |
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63 | (2) |
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65 | (23) |
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Cuba and Puerto Rico: ``The Two Wings of the Same Bird'' |
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66 | (1) |
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67 | (6) |
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The Fiesta de Santiago Apostol at Loiza Aldea |
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73 | (4) |
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Plena and Bomba in the Dance Hall |
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77 | (3) |
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Music and the Puerto Rican Diaspora |
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80 | (5) |
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Puerto Rico Rocks and Raps |
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85 | (1) |
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86 | (1) |
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86 | (2) |
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88 | (28) |
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88 | (7) |
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Ruben Blades: The Cutting Edge |
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95 | (4) |
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99 | (1) |
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100 | (6) |
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106 | (4) |
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110 | (3) |
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113 | (2) |
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115 | (1) |
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115 | (1) |
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116 | (25) |
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118 | (3) |
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The Merengue as National Symbol |
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121 | (2) |
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123 | (3) |
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126 | (4) |
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130 | (2) |
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Bachata: Songs of Bitterness, Songs of Love |
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132 | (3) |
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135 | (3) |
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The Return of the Repressed |
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138 | (2) |
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140 | (1) |
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140 | (1) |
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Haiti and the French Caribbean |
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141 | (36) |
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Music in the Streets of Port-au-Prince |
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141 | (1) |
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Haitian Cultural Crossroads |
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142 | (3) |
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Creolization in Haiti: Language |
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145 | (1) |
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Creolization in Haiti: Religion |
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146 | (5) |
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151 | (5) |
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156 | (1) |
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157 | (5) |
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Politics and the Haitian Diaspora |
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162 | (3) |
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Contemporary Haitian Popular Music |
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165 | (2) |
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Misik Rasin, Rap, and Ragga |
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167 | (3) |
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Music in the Lesser Antilles: Martinique, Guadeloupe, Dominica, and St. Lucia |
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170 | (5) |
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175 | (1) |
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176 | (1) |
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177 | (39) |
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177 | (6) |
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Roots Music in the Mid-Twentieth Century |
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183 | (4) |
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Music inna Downtown Style: Recording the Unrecorded |
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187 | (4) |
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Roots and Culture: Downtown Triumphant |
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191 | (3) |
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194 | (5) |
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The End of an Era and the Dawn of a New One: From Reggae to Ragga |
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199 | (3) |
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Tellin' It Like It Is, from ``Consciousness'' to ``Slackness'' |
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202 | (4) |
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Female Degradation or Liberation? |
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206 | (2) |
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Love Music---or Hate Music? |
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208 | (2) |
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Sound Systems and Sound Clashes |
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210 | (3) |
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213 | (2) |
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215 | (1) |
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215 | (1) |
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Trinidad, Calypso, and Carnival |
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216 | (33) |
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The Development of Calypso and Carnival |
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218 | (2) |
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220 | (7) |
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Modern Calypso and Carnival |
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227 | (4) |
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231 | (4) |
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235 | (5) |
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240 | (5) |
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Calypso and Carnival outside Trinidad |
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245 | (2) |
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247 | (1) |
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248 | (1) |
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East Indian Music and Big Sounds from the ``Small Islands'' |
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249 | (22) |
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East Indians in the West Indies |
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249 | (12) |
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261 | (8) |
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Indo-Caribbean Bibliography |
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269 | (1) |
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Indo-Caribbean Records and Film |
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270 | (1) |
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Small Island Bibliography |
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270 | (1) |
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270 | (1) |
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Five Themes in the Study of Caribbean Music |
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271 | (20) |
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Unity and Diversity in a Continent of Islands |
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271 | (2) |
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273 | (5) |
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278 | (5) |
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Caribbean Music International |
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283 | (4) |
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287 | (4) |
Notes |
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291 | (8) |
Glossary |
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299 | (12) |
Index |
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311 | |