Determined women ready to succeed

Summary

This account will focus on women's presence in Cuban musicology, which has increased from a very low participation in the capitalist republic (1902-1958) to the current total of some hundred names in various lines of research and fields of specialization. Universal education, economic independence, freedom of professional choice, the creation of the Higher Institute of Arts (ISA) in 1976 and the establishment of the Cuban Music Research and Development Centre (CIDMUC) in 1978, were all significant in terms of developing institutional research opportunities, including, in the last five years, the Open Multi-thematic Musicology Workshop (TMMA). The main objectives of this paper are to: demonstrate the role undertaken and place secured by women in Cuban musicological developments before and after the Revolution; analyze the treatment of themes referring to Hispanic and African influences and other sources of our music covered by Cuban women musicologists, as well as their incursion into various crucial historical and contemporary musical themes; explain the importance for Cuban musicology and the role of women of the creation of the ISA Faculty of Music, the Cuban Music Research and Development Centre and the Open Multi-thematic Musicology Workshop; and describe the wide spectrum of thematic currents with the highest incidence and significance in Cuban women's musical thinking and activity.

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Introduction

Up until 2007, the ISA Faculty of Music and documents from the Cuban Institute of Music (ICM) Musicology Development Plan identify 171 graduates in the specialism. Of these, 87.8% are women and 12.2% men; 5.8% received their degrees in universities in the former USSR; 1.1% in German universities and 92.9% in the ISA. Their studies cover folkloric, popular and cult themes, with diverse, analytic and educational musicological focuses. However, this panorama is a relatively new one because, from 1902-1958 and even 22 years after the triumph of the Revolution, an evident deficit in the system and dynamic of study plans was apparent, accompanied by a clear absence of women in musicological work. This was aside from the outstanding examples of María Teresa Linares Savio (1920), Maria Muñoz de Quevedo (1886-1947) and Ana Margarita Aguilera Ripoll (1903-1972), who were all involved in important research into Hispanic precedents in Cuban music, fiestas and rituals and other local and national matters.

Founding figures

Here we should highlight the contribution of María Teresa Linares Savio - the wife and colleague of the outstanding and eminent Cuban musicologist Argeliers Leon (1918-1991), historic dean of contemporary Cuban musicology - who has obtained notable successes in research and teaching. The contributions of Maria Teresa (Tete) have always constituted a pillar for research into folkloric music in general, Hispanic precedents in Cuban music and certain rituals of Spanish and African origin (including the syncretism of the latter). But one of the central contributions of this veteran musicologist is the edition of discographic and material collections that date back to her early work as a professor and researcher in the 1940s and 50s, as well as her move (with Argeliers) to the Ethnology and Folklore Institute in the early 60s; her subsequent work as an editor-musicologist in the Musical Recording and Editing Institute (EGREM), and her collaboration and consultancy work at the CIDMUC.

Teté has added to all of this a body of educational work that, from the early 1940s, has borne fruit in the work of men and women who have made some kind of impression in their career.

Another outstanding professor was Spaniard María Muñoz de Quevedo, who played an important role as a cultural promoter by founding the Musicalia magazine (1928); also as a teacher in the Havana Cultural Society (1931) and other educational institutions, where she initiated many figures such as María Teresa and others who graduated as professors of theoretical-musical subjects in summer courses organized by the University of Havana from the 1930s to 50s.

The summer courses were given by Fernando Ortiz y Quevedo and, from 1947, were continued by Argeliers León, with students like Ana Margarita Aguilera Ripoll, who contributed to the development of studies of our folklore of Hispanic origin by drawing up the Cancionero infantil de Hispanoamérica (Hispanoamerican Children's Songbook), in which she compiled, organized and compared the best-known Spanish and French children's songs and the various versions that grew out of their movement throughout Latin America.

Close to Teté and likewise essential as a professor of many years and a notable musicologist, is María Antonieta Henríquez González (1927-2007), founder and director of the National Museum of Music, where she has left her imprint on the rescue and conservation of the Cuban musical heritage and her attention to native national assets, such as Cuban composer Alejandro García Caturla (1906-1940).

One important figure is Lydia Cabrera (1901-1991), who was not a musicologist but an outstanding anthropologist interested in the culture of various African ethnic groups based in Cuba, above all in relation to their linguistic and anthropological aspects.

Other women researchers, while not of the musicological and anthropological stature of María Teresa Linares and Lidia Cabrera, include Elisa Tamames and Carolina Poncet de Cárdenas (1879-1969). The former dedicated herself to researching the historical and musicological antecedents of the centennial societies of the French tumba, created in Cuba by Haitian Africans, self-denominated French, in order to recreate their ancestral culture and to preserve their distinct religious ideas. Meanwhile, Poncet, as María Teresa and Argeliers did later, involved herself in the restoration of our folkloric traditions. She is the author of El romance in Cuba (Ballads in Cuba), a book that was the first systematic study of this subject in our country.

Yet another significant researcher is Ziola Lapique Becali (1930), an outstanding historian who has studied 19th century documentary sources related to music.

Linking teaching with research and promotion

Initial transition stage

Above all, it is essential to clarify the teaching and research presence of a small group of professional women who studied the works of specific composers or applied musical theory in their teaching. These professor-researchers date back to the early promotion, from the early 1960s, of the first Music Degree taught at the Universidad del Oriente, Santiago de Cuba. The institution was under the aegis of Pablo Hernández Balaguer (1928-1966), a key historical researcher into the work of musician-priest Esteban Salas (1725-1803), with a highly qualified staff, from which emerged professor-researchers like Virtudes Feliú Herrera (1941), Elsa Puig, Raquel Surí and Antonia Luisa Cabal Salis (Tuzy, 1924), among others.

Given the scant stability of this professional work in the early 60s, some of these professors abandoned the specialism. However, others remained in their technical-educational work in the first conservatoires of the period and succeeded in establishing and consolidating themselves in a labour of years. That was the case of Virtudes Feliú Herrera, an initial collaborator with Balaguer, a professor with a doctorate in Historical Science in the speciality of Ethnography in the former USSR and a researcher into historical Cuban ritual and festive traditions. The results of her work have been compiled in the voluminous Atlas ethnográfico de Cuba (Ethnographic Atlas of Cuba) CD-Rom, which received an award from the Cuban Academy of Science.

For her part, Elsa Puig had a fruitful career over many years lecturing in History of Music and Musical Appreciation at the Esteban Salas Conservatory in Santiago de Cuba, as well as being a curator-researcher of what was conserved in the Hernández Balaguer archive in the Elvira Cape Library in that city, whose content outstanding researchers Hilario González (1920-1996) and Miriam Escudero Suástegui (1970), of different generations, studied many years later.

Antonia Luisa Cabal Salis stands out in various educational and research projects, in her leading of young musicians in diverse artistic projects, as well as conducting the Guantánamo Male Voice Choir, a group that lasted up until recently. Subsequently, and at the age of 83, Antonia is still working in different areas of assessment and support of younger generations and in national and local cultural life.

In parallel to the training and work of these professionals in the Universidad del Oriente in the 1960s, musical education in the capital was being restructured at its different levels, while Argeliers León, María Teresa Linares and Odilio Urfé (1921-1928) were giving open extra-curricular classes to highly motivated young people. In the same way, in the 60s and 70s, steps were taken to establish what would become the equivalent of the current Multi-thematic Open Music Workshop.

In the 1970's, Martha Esquenazi Pérez (1949) began her work which, under the initial guidance of her mentor, María Teresa Linares Savio, developed various lines of research into traditional Cuban work songs, spiritual and syncretic rites in rural areas and the cities, which had its greatest results much later, when she met up with Virtudes Feliú Herrero in the Juan Marinello Centre and in the subsequent drafting of the Atlas etnográfica de Cuba among other books.

Embedding stages and generations

After the 1980s and with the first graduates from the ISA, currents of work and the reach of the musicological research began to multiply, as did the number of women musicologists.

One of the most important experiences is that of Victoria Elí Rodríguez (1945), initially in the CIDMUC and in later years as a professor in Hispanic university circles, who has developed a voluminous historiographical work on Cuban music post-1959, the subject of her doctorate in Berlin's Humboldt University in the 1980s. Concurrently, she played an outstanding role in intermediate and higher musical education in Cuba, in parallel with coordinating the international edition of the Diccionario de la música española y hispanamericano (Dictionary of Spanish and Latin America Music). Prior to that, she was the principal coordinator and director of the Atlas de Instrumentos de la música folklórico-popular de Cuba (Atlas of Instruments in Cuban Folkloric and Popular Music), edited by the CIDMUC, whose collective of male and female authors includes other outstanding musicologists such as Ana Casanova Oliva (1959), María Elena Vinueza González (1959), Laura Vilar Alvarez (1957), Carmen María Sáenz Coopat (1956) and Zobeyda Ramos Venero (1939).

Musicologist and researcher Zoila Gómez García (1948-1998) is a unique case. She died in full maturity and creativity, as the organist for an Evangelist Presbyterian choir, a colleague and co-participant with Victoria Elí Rodríguez in directing the CIDMUC Research Departments, the author and co-author (also with Elí) of more than one educational book or essay and a prize winner in one of the currents of the Pablo Hernández Balaguer National Musicology Competitions. She was characterized by an acute critical-analytical sense in every project that she undertook, qualities that made her a significant musicological editor of national and international monographs and diverse anthologies.

Another seminal researcher, María Elena Vinueza González (1959) has investigated Arara and Bantu music as African-Cuban sources, a subject that earned her the Casa de las Américas Musicology Prize in 1986. Her work likewise covers publications, participation in musicological projects and events, plus intensive teaching in various methodological currents. In recent years she has played an outstanding role in the Casa de las Américas Music Department, where she organizes and promotes the Musicology Prize.

I have already mentioned the musicological and research antecedents of Martha Esquenazi Pérez in the 1970s, which had their finest results in the early 80s, in parallel with the Juan Marinello Centre's Atlas etnográfica de Cuba, and the publication of a book that synthesizes various processes in Cuban music, Del areíto y otros sones, dedicated to "María Teresa Linares, as a testimony of having continued her ventures into Cuban country music."

On another level, Clara Díaz Pérez (1956-2008), who began her teaching activities relatively late (after gaining her doctorate at the ISA in the 1980s) has undertaken, from the National Museum of Music, an extensive and intensive research into the nueva trova and, in particular, a study of Silvio Rodríguez. That research has led to national and international publications, complemented by many articles in the Second Epoch of the Cuban Clave magazine, which covers Cuban and Latin American aesthetic, historical and socio-musical aspects. Additionally, she collaborated with the SGAE (General Society of Authors and Editors) on the Diccionario de la zarzuela. España y Hispanoamérica (Dictionary of Spanish Operetta: Spain and Latin America). In parallel, she has lectured to graduate and post-graduate students at the ISA since the 1980s.

Then there is the valiant presence of the wok of Miriam Villa Correa (1948), who has dedicated a large part of her career to revaluating historical heritage groups of popular Cuban music, as well as educational activities in the Ministry of Culture's Professional Advancement Department and, currently, in the Music Faculty of the Higher Institute of Arts. Another long-term ISA professor is María de los Angeles Córdova de la Paz (1948) who, in addition to her classes in score reading, is developing a growing body of research into social, psycho-social, psychological and socio-political aspects, with a marked emphasis on the potential incidences of social class on the creation, practice and consumption of music.

Outstanding women within this research-teaching order include Miriam Ruiz Pérez (1967), trained in the Russian-Slav musicology school and, in recent years, linked to the TMMA; Prisca Martínez Pereira (1959), an educationalist of vast experience, likewise linked to the workshop; Alina Ponoda Alonso (1957) who worked for many years in the National Centre of Art Schools and is now in the ISA; and Miriam Lay Bravo (1958), from the Amadeo Roldán Conservatory, who is also part of the work of the National Centre of Art Schools.

These specialists are characterized by introducing innovative ideas in relation to musical language and appreciation, forms and history of music, at the primary, medium and higher levels, where Prisca stands out in the aspect of stimulating creativity among students via musical games (including with primary school children); while Miriam has contributed to methodological teaching practices from primary to intermediate level. For her part, Mivian, dean of the ISA music faculty, has acquired fame in analytic-teaching practices at intermediate and higher levels. In the case of Alina, she stands out in the study and innovations of teaching methodological currents in the field of musicology, summarized in a book of that nature for professors and researchers in the field.

As can be appreciated, even within just one of the thematic sectors, the characterization of content and aspects for research denotes a richness of themes as well as amplitude and flexibility in the application of focuses and concepts.

Open and historical-analytical research:
thematic and interpretative-performance convergences and intersections

A young figure achieving notable results is Miriam Escudero Suástegui, who has dedicated herself to revaluating specific composers and an analytical review and rescue of the treasures hidden in historical parochial and cathedratical music in Havana City and Santiago de Cuba. She developed her work further after winning the 1997 Casa de las Americas Prize for a musical archive on Havana's La Merced Church, to which she added a profound study and edition of the work of Esteban Salas, under the auspices of the Havana City Historian's Office and the University of Valladolid. She also works as an executive instrumental and vocal interpreter in the Ars Longa medieval music group, directed by Teresa Paz (1966), which she also advises and supports in musicological aspects.

It is obligatory to mention Ana Casanova Oliva (1959) who works in the CIDMUC, for her research work on organ focuses in Cuban music, which won her the Casa de las America Prize in 1986, plus her historical-analytical approaches to the dances of Ignacio Cervantes and his links with Chopin's piano works. This latter thematic sector is further researched in the work of Mariana Hevia Roman (1981), who won the 2004 Argeliers Leon UNEAC Prize for her musicological work on Cuban décima dances in general.

Liliana González Moreno (1974) has given specific attention to certain currents and figures within Cuban rock and pop and their interactive contacts with the contemporary Cuban new trova movement. Her study takes a particular course and is more profoundly developed - above all in the direction of pop in Cuba - in the outstanding thesis of young researcher Carmen Souto Anido (1983).

On the other hand, Grizel Hernandez Baguer (1957), Danaris Betancourt Milián (1980) and Carmen Souto Anido, linked to the TMMA, have been investigating music with specific manifestations derived from hip-hop/rap and the incorporation of Cuban expressive elements and expressions such as performance. Liliana González has also undertaken interesting research in that context. The work of Grizel Hernández Baguer is outstanding in another direction, with a socio-musical and anthropological focus, directed toward rap groups in their distinct facets, connections and projections.

In recent years, Yarelis Domínguez Bejerano (1971) from the National Museum of Music has been developing a critical-panoramic account of historical and contemporary Cuban musicological studies in their different spheres. At the same time, musicologist Carole Fernández Martinez (1984) and Yoanna Díaz Vázquez (1971), a specialist in Information Science, likewise from the National Museum of Music and the CIDMUC, have undertaken studies on Cuba choral music (in addition to conducting a children's choir, in Carole's case) as well as Yoanna's cataloguing of the important operatic heritage possessed by the National Museum of Music.

Research work into the historical-musical heritage by musicologist Doris Céspedes-Leon (1962) at the Argeliers Leon Documentation Centre in Pinar del Rio province, is also significant, and moreover, has contributed to promoting socio-cultural developments in that province.

In another very specific direction, extensive and profound research into tumba patterns by Daymi Algria Alejo (1981) has gone into considering a wide musical display representing historical stages, shaped by the motivation and psychology of the participants, diverse elements and collective traits at various points, via musical-cultural networks, as well as the role of the tumbao (drummer) and his musicians in the historical development of Cuban music.

There is a similar direction within Cuban music in the work of Neris González Bello (1974) which characterizes the most significant traits of the so-called Cuban timba, its nexus in relation to sones, to the songo genre that is nurtured by the legacy of sones and acquires its own physionomy in the interaction with sonorities from beat-pop and blues, as well as in Cuban and Cuban-Caribbean salsa and links with other Caribbean music. In the same way, this researcher has developed important and little-studied aspects of jazz and Cuban jazz as a language and process, as well as their direct or indirect ties to historical Cuban dance music and the popular Cuban heritage in general. She has also maintained her teaching work.

In relation to the dynamic of African sources and their possible insertion and incidence in Cuban musical processes, these have been studied by musicologist Yianela Pérez Cuza (1981), with an original focus that combines analytical reach with anthropological, psycho-social and ethno-cultural nuances, starting from an in situ study of important historic national cabildes (African groups), still existing in the traditions of Santiago de Cuba province. This researcher has also ventured into contemporary manifestations of Cuban popular music - pop-rock, reggaetón, rap and performance - as well as an incipient professional labour in analytical currents.

One area of virtually unique work - in Latin America as a whole - is the dedication of musicological talent to the musical support industry in the form of records, DVDs and CDs, which in fact has become a kind of tribute to the historical productions of the abovementioned María Teresa Linares, in a concentrated effort by the Cuban Institute of Music's Colibrí Collection. In that context, women's musicology, in terms of giving greater cultural-musical content to discographic production without forgetting promotional and circulatory aspects.

Within this current, Cary Diez Ferrer (1962) has attained eminence as the producer of various important recordings of traditional music, one of which, La rumba soy yo, combines dynamic and relevant elements of profound tradition with popular contemporary expressions and, after taking the Cubadisco 2001 Prize, a few months later, also won a Grammy. In the same area, Gloria Ochoa Aguilera (1962), Marta Bonet de la Cruz (1963), Yanira Martínez Arango (1978) and the abovementioned Cary Diez, musicologists with the Colibrí team and the ICM National Phonographic Office, as well as Isabelle Hernández Martínez (1972), have made significant recordings and DVDs that have won important nominations and prizes.

Prominent media figures include Gloria Torres Lafont (1959), a musicologist dedicated to television music programmes; Esperanza Valera Isusi (1956), director of and advisor on television programmes that set standards in searching for and promoting talent; and Lidia Bécquer Aguila (1956-2001) who, up until her death, devoted herself to scripts, editing and advising on musical programmes and a laborious discographic output, as well as the discovery, recovery and digitalization of many records. Meanwhile, an outstanding young musicologist, Nisleydis Flores Carmona (1997), who has fundamentally devoted herself to teaching, is currently working as a musical editor of important musical pieces in book publishing.

Recently, signs of permanency and creativity can be perceived in women researchers -young and not so young - as visible in the most recent edition of the UNEAC Musicology 2006 Competition, with the works of Giselda Hernández Ramírez (1963), Camila Cortina Bello (1989) and Damia Almeida Alvarez (1989) which constitute a contribution to Cuban organ pieces and discography and the development of musical criticism.

We should fleetingly mention the activities of other musicologists and interpreters of popular music. The cases of likewise singer Gema Corredora Saborit (1964), a member of the popular vocal-instrumental Gema and Pável duo, who have made themselves notable within the new generation of Cuban trova musicians on account of their versatility and original interpretative style, and of Lilia Expósito Pino (Bellita, 1957), who is pianist, singer and director of the trio Bellita y su Jazztumbata, highly popular on the current Cuban jazz scene.

Finally, as the author of this article, I have devoted a good part of my work to researching women's contribution to Cuban music, the results of which are demonstrated in essays in the specialized media of Mexico, Spain, Italy, the United Kingdom and the United States, and one book: Con musica, textos y presencia de mujer. Diccionario de mujeres notables en la música cubana (With Music, Texts and the Presence of Women. Dictionary of Notable Women in Cuban Music) which won the UNEAC Musicology Prize in 2000, for being the first attempt by Cuban women musicologists to articulate the history of music and that of its female protagonists.

I have likewise investigated other musical currents related to the social, working and unionized condition of Cuban musicians in the pre-revolutionary context and on an analysis of the creative work of Cuban cult and popular music composers. I have promoted the Musicology Prize from the presidency of the Musicology Section of the Union of Cuban Writers and Artists (UNEAC) for the last 11 years; and, since 2004 and on my own initiative, the UNEAC Zoila Gómez Prize for the best student research paper; as well as the activities of La Bella Cubana Circle of Women in Music since 1999.

I am also a university lecturer, and an organizer, presenter, and promoter of theoretical events in festivals of the danzón, the bolero and la habanera, sponsored by the UNEAC and the Adolfo Gúzman Provincial Centre of Music. At the same time, I am the historical organizer of symposiums within the Record Fair sponsored by the Phonographic National Office, attached to the ICM.

Conclusions

1. The dynamic of the nutrients of Cuban music and culture from African, European, African-Caribbean, African-Hispanic and Asian origin has been studied from early historical periods up until today. This has led to new concepts of the nature and reach of trans-culturation, the interaction of sources, processes of musical-cultural integration in the characterization of historical groups represented by those sources, the principal genres and styles and so on. Studies are marked by the presence of women musicologists, whether in the research aspect (including the use of innovative procedures), publications, transcripts, input participation or the promotion of all these results. Women members of the Centre for the Research and Development of Cuban Music, the Casa de las Americas and the Museum of Music and TMMA have had a notable presence in differing degrees.

2. Access to education, economic independence, women's freedom of professional choice, the creation of the Higher Institute of Arts and the labour of these institutions have all facilitated the current confluence in Cuban musicology of more than 100 women who are studying distinct themes, without exclusion. The significance of the work of these institutions is borne out in the very results attained, underlined here in the final paragraphs.

3. Some young women musicologists are studying the principal trends of popular Cuban dance music and contemporary song-writing as well as rock, pop, rap and other currents, and are taking the first steps toward characterising the status of that contact and interchange, degree of rootedness, use and projection of interpreters and receptors, characteristics of groups and their format, and perspectives, among other aspects. Individual support as well as that of members of the ISA, the CIDMUC and the TMMA has been outstanding.

4. One present current of Cuban women's musicology has penetrated into the study of Cuban colonial music (fundamentally Baroque) and its relation with Latin America as well as the contributions and significance of the principal composers, especially Esteban Salas. Achievements here are a voluminous international edition of Salas' works and a high-profile international discographic edition, reflected in supportive interpretations that extend to displays of American Baroque and a number of national and international awards, particularly the Musica Sacra de Cuba (Sacred Music of Cuba), linked to the University of Valladolid, and the discography K.617 of the Caminos del Barroco, in France.

5. Cuban women musicologists' contribution is also reflected in advanced technical-analytical procedures in relation to international trends, always in a context of critical assimilation and their own input, as is the case in applying specific techniques and criticism in various works historical and current Cuban musical processes, interlaced with socio-musical and anthropological focuses. Young musicologists from the TMMA, such as Yianela Pérez Cuza, Daymí Alegría Alejo, directed and supported by Danilo Orozco, Miviam Ruiz Pérez, Prisca Martínez Pereira and Iliana García García have acquired a lot of knowledge in this area, including the first steps for updating procedures, techniques and focuses, with a notable incidence in the scientific and teaching fields.

6. Another current and significant support is discographic production with a musicological content, as applied to diverse currents such as historical and contemporary concert music, traditional and new trova, folkloric music and population in its widest spectrum. Some of that body of production has won prizes via the Record Fair, as well as international awards, including Grammies; and, as a whole, represent a Cuban support to Latin American musicology. These recordings have grown out of institutions such as the Musical Recording and Publishing Enterprise, the Abdala Studios, and the Havana City Historian's Office and promoted - in particular by the ICM - with the creation of the Colibrí label.

7. Certain individual women who have been outstanding in their vocal and instrumental performances developed from their musicological training merit a special mention. They include Gema Corredera Saborit, in the field of trova music and other facets of contemporary song; Bellita Expósito Pino, in the Cuban current of Latin jazz; and Miriam Escudero Suástegui, for her reinterpretations of American and Cuban Baroque.

These points give a brief overview of the fundamental and notable contributions as well as the historical and contemporary undertakings of women in the Cuban cultural context. However, I cannot end without mentioning the maestro Argeliers León, who stated:

"Musicology is not a preserve of men or women. Cubans are so exaggerated that they either don't get there or overreach… Initially, the majority of researchers were men, then that coincided with a run of well-trained women and we haven't yet emerged from that but I don't believe that anybody should be bothered by the fact. It happens, to a large extent, because of complexes and also because of a lack of training and essential knowledge for initiating such studies. Men who could have been suitable for such a career have shown a lack of determination, as well as a lack of desire, to participate in strong competition with a professional opposition, confronted with young women determined and ready to succeed." (Quoted by Lino Neira, 2006) (

Alicia Valdés Cantero is a leading Cuban musicologist, attached to the Centro de Investigación y Desarrollo de la Musica (CIDMUC) (Cuban Music Research and Development Centre) in La Habana, Cuba.

This report forms part of the Women, Music and History in Cuba Research Project carried out in collaboration with the Open Multit-hematic Musicicology Workshop directed by Dr Danilo Orozco. It constitutes the essay version of a presentation for the 10th Women's Worlds Interdisciplinary International Congress organized by the Complutense University of Madrid, from July 3-9, 2008.

Photographs of some of the musicologists can be viewed in the gallery.

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Audiovisual material

Colectivo De Autores: Atlas etnográfico de Cuba (Cultura popular tradicional), CD-ROM, Centro de Investigación y Desarrollo de la Cultura Cubana Juan Marinello, La Habana, 2000.

León, Argeliers y María Teresa Linares (Producción Y Texto): Música Iyesá, LD. 3747. Areito, Vol. III, Serie Antología de Música Afrocubana, CIDMUC-EGREM, La Habana, 1977.

Linares, María Teresa: Viejos cantos afrocubanos (producción y texto), LD 3325 y LD 3995, Areíto, Vols. I y II, Serie Antología de Música Afrocubana, CIDMUC- EGREM, La Habana, 1981.

Escudero, Miriam (Textos): Música sacra en La Habana Colonial, CD Oficina del Historiador de La Habana y Universidad de Valladolid, 1999.

______: El eco de las indias, CD Oficina del Historiador de La Habana y Universidad de Valladolid, 1999.

______: Nativité a Santiago de Cuba, DC- K617, Francia, 2001.

______: Cantus in Honore Beatae Marae Virgins de Esteban Salas, DC-K-617, Francia 2002.

Interviews

Dr. Danilo Orozco ( musicólogo), La Habana, 6, 7 y 17 de noviembre de 2006; 13, 14, 16, 20, 24, 27, 28 y 29 de diciembre de 2006; 4, 5, y 6 de enero de 2007.

Copyright
Copyright for this work is held jointly between Alicia Valdés Cantero and the International Journal of Cuban Studies under a Creative Commons Attribution-NonCommercial-No Derivative 3.0 Licence

IJCS Volume 1 Issue 2 December 2008