Mario Bauza: swing era novelty and Afro-Cuban authenticity

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Mario Bauza: swing era novelty and Afro-Cuban authenticity

Please use this identifier to cite or link to this item: http://hdl.handle.net/10355/4978

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dc.contributor.advisor Budds, Michael J., 1947- en
dc.contributor.author Miller, Nathan Brad en_US
dc.coverage.spatial United States
dc.date.accessioned 2010-01-12T19:07:38Z
dc.date.available 2010-01-12T19:07:38Z
dc.date.issued 2007 en_US
dc.date.submitted 2007 Fall en
dc.identifier.other MillerN-120407-T8969 en_US
dc.identifier.uri http://hdl.handle.net/10355/4978
dc.description The 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. en_US
dc.description Title from title screen of research.pdf file (viewed on April 1, 2008) en_US
dc.description Includes bibliographical references. en_US
dc.description Thesis (M.A.) University of Missouri-Columbia 2007. en_US
dc.description Dissertations, Academic -- University of Missouri--Columbia -- Music. en_US
dc.description.abstract Introduced 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. en_US
dc.language.iso en_US en_US
dc.publisher University of Missouri--Columbia en_US
dc.relation.ispartof 2007 Freely available theses (MU) en_US
dc.subject.lcsh Bauzá, Mario, 1911-1993 en_US
dc.subject.lcsh Latin jazz en_US
dc.subject.lcsh Swing (Music) en_US
dc.subject.lcsh Jazz musicians -- Biography en_US
dc.title Mario Bauza: swing era novelty and Afro-Cuban authenticity en_US
dc.type Thesis en_US
thesis.degree.discipline Music en_US
thesis.degree.grantor University of Missouri--Columbia en_US
thesis.degree.name M.A. en_US
thesis.degree.level Masters en_US
dc.identifier.merlin .b63020439 en_US
dc.identifier.oclc 216934432 en_US
dc.relation.ispartofcommunity University of Missouri-Columbia. Graduate School. Theses and Dissertations. Theses. 2007 Theses


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