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dc.contributor.advisorBudds, Michael J., 1947-en
dc.contributor.authorMiller, Nathan Braden_US
dc.coverage.spatialUnited States
dc.date.issued2007eng
dc.date.submitted2007 Fallen
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.en_US
dc.descriptionTitle from title screen of research.pdf file (viewed on April 1, 2008)en_US
dc.descriptionIncludes bibliographical references.en_US
dc.descriptionThesis (M.A.) University of Missouri-Columbia 2007.en_US
dc.descriptionDissertations, Academic -- University of Missouri--Columbia -- Music.en_US
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.en_US
dc.identifier.merlin.b63020439en_US
dc.identifier.oclc216934432en_US
dc.identifier.otherMillerN-120407-T8969en_US
dc.identifier.urihttp://hdl.handle.net/10355/4978
dc.publisherUniversity of Missouri--Columbiaen_US
dc.relation.ispartof2007 Freely available theses (MU)en_US
dc.relation.ispartofcommunityUniversity of Missouri-Columbia. Graduate School. Theses and Dissertations. Theses. 2007 Theses
dc.subject.lcshBauzá, Mario, 1911-1993en_US
dc.subject.lcshLatin jazzen_US
dc.subject.lcshSwing (Music)en_US
dc.subject.lcshJazz musicians -- Biographyen_US
dc.titleMario Bauza: swing era novelty and Afro-Cuban authenticityen_US
dc.typeThesisen_US
thesis.degree.disciplineMusicen_US
thesis.degree.disciplineMusiceng
thesis.degree.grantorUniversity of Missouri--Columbiaen_US
thesis.degree.levelMastersen_US
thesis.degree.nameM.A.en_US


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