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dc.contributor.advisorBudds, Michael J., 1947-eng
dc.contributor.authorMiller, Nathan Bradeng
dc.coverage.spatialUnited Stateseng
dc.date.issued2007eng
dc.date.submitted2007 Falleng
dc.descriptionThe entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file.eng
dc.descriptionTitle from title screen of research.pdf file (viewed on April 1, 2008)eng
dc.descriptionIncludes bibliographical references.eng
dc.descriptionThesis (M.A.) University of Missouri-Columbia 2007.eng
dc.descriptionDissertations, Academic -- University of Missouri--Columbia -- Music.eng
dc.description.abstractIntroduced to jazz in his native Cuba, Mario Bauzá (1911-1993) immigrated to New York City in 1930 to take part in its active scene as an instrumentalist, and, by enhancing pre-existing musical practices with his arranging prowess, played an important role in the formulation of Afro-Cuban jazz. The Havana native earned impressive credentials as a member of Chick Webb's and Cab Calloway's ensembles in the 1930s and 1940s. With these groups he completed on-the-job performance training, held his first position as a musical director in the United States, and composed Swing Era big band charts. His prominence as a jazz arranger, however, is the result of works he later designed for Machito and His Afro-Cubans, which capitalize on Cuban instruments and rhythms. Many authors make reference to Bauzá's participation in both big band and Afro-Cuban jazz ensembles during the Swing Era, but in their limited prose they fail to detail accurately or quantify his contributions. I address this gap by illuminating differences between music from the Swing Era that utilizes Latin elements as a novelty and the arrangements of Bauzá that employ Afro-Cuban materials authentically. An accurate assessment of Bauzá's contributions to the creation of Afro-Cuban jazz will result from quantifying and qualifying the approach to Latin traditions in these two bodies of work and then realizing the similarities and differences between the two.eng
dc.identifier.merlin.b63020439eng
dc.identifier.oclc216934432eng
dc.identifier.otherMillerN-120407-T8969eng
dc.identifier.urihttp://hdl.handle.net/10355/4978eng
dc.publisherUniversity of Missouri--Columbiaeng
dc.relation.ispartof2007 Freely available theses (MU)eng
dc.relation.ispartofcommunityUniversity of Missouri-Columbia. Graduate School. Theses and Dissertations. Theses. 2007 Theseseng
dc.subject.lcshBauzá, Mario, 1911-1993eng
dc.subject.lcshLatin jazzeng
dc.subject.lcshSwing (Music)eng
dc.subject.lcshJazz musicians -- Biographyeng
dc.titleMario Bauza: swing era novelty and Afro-Cuban authenticityeng
dc.typeThesiseng
thesis.degree.disciplineMusic (MU)eng
thesis.degree.grantorUniversity of Missouri--Columbiaeng
thesis.degree.levelMasterseng
thesis.degree.nameM.A.eng


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