Scan 117
The New Grove Dictionary Of Music And Musicians 5 Ed. 2nd, 1904
42 lines. Read by computer on 18 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1Bata okonkole (small waisted drum) in the Museo Nacional de la Musica, Havana
3two bars and its variants, with syncopation in the second bar (ex 4) The steps of the dance always dictate the rhythm three short steps are dragged out slightly and the fourth step is a forward leap
5(vii) Afro-Cuban music Afro-Cuban ritual music originated with the traditional music of Africa which, before the advent of the Republic (1902), had to be performed in secret. Songs and dances in cult groups all address the gods and are accompanied by three sizes of bata (waisted religious drums) ría (large), utele (medium) and okonkole (small, see illustration). All perform ritual rhythms and accompany ritual offering songs. In addition to organized rituals, more informal fiestas (bembe) are held in private houses, when music for drums and popular music is performed
7BIBLIOGRAPHY
81 M de la Torre 'Lo que fuimos y lo que somos o la Habana antigua y moderna' (Havana, 1857) one of two readings
91 M de la Torre 'Lo que fuimos y lo que somos en la Habana antigua y moderna' (Havana, 1857) one of two readings
102 Ramírez 'La Habana artística' (Havana, 1891)
113 Grenet y de Cárdenas 'El romance en Cuba', Revista de la facultad de letras y ciencias, xxviii (1914), 180-260, 270-321
124 Aguero 'Consideraciones sobre la música popular cubana', Revista de la facultad de letras y ciencias, xxxii (1922), 33
135 Sánchez de Fuentes 'El folklor en la música cubana' (Havana, 1923)
146 Aguero y Barreras 'Aporte africano a la música cubana' (Havana, 1926)
157 Castellanos 'Instrumentos musicales de los afrocubanos' (Havana, 1927)
168 Fuentes Matos 'Las artes en Santiago de Cuba', Las bellas artes en Cuba, ed J M Carbonell y Rivero (Havana, 1928)
179 Ortiz 'El estudio de la música afrocubana', Musica, i (1928-9), 145, 169
1810 Sánchez de Fuentes 'Influencia de los ritmos africanos en nuestro cancionero', Las bellas artes en Cuba, ed J M Carbonell y Rivero (Havana, 1928)
1911 Cowell 'The "sones" of Cuba', MM, vii, 2 (1931), 45
2012 Ortiz 'La "clave" xilofónica de la música cubana' (Havana, 1935)
2113 García Aguero 'Presencia africana en la música nacional', Estudios afrocubanos, i (1937), 114
2214 Ortiz 'La música sagrada de los negros Yoruba en Cuba', Ultra, iii/13 (1937), 77
2315 Lachatañeré 'Oh 'mio Yemaya' (Manzamillo, 1938) one of two readings
2415 Lachatañeré 'Oh 'mio Yemaya' (Manzamilo, 1938) one of two readings
2516 Sánchez de Fuentes 'La música cubana y sus orígenes', Boletín latino-americano de música, iv (1938), 177
2617 Grenet, ed Popular Cuban Musu (Havana, 1939)
2718 Ortiz 'Afro-Cuban Music', Inter-American Quarterly, i/3 (1939), 66
2819 Courlander 'Musical Instruments of Cuba', MQ, xxviii (1942), 37
2920 Carpentier 'El son en la música y el baile popular', Revista de America, vii 19 (1946), 124
3021 Ortiz 'Preludios étnicos de la música afrocubana', Revista bimestre cubana, lxv/1 3 (1947), 5 194, lxv/1 3 (1947), 123 280, lxv/1 3 (1948), 41 278, lxv/4 6 (1948), 131 210, lxv/1 3 (1949), 63 208, lxv/1 3 (1949), 87 194
3122 La música y los arcos de los indios de Cuba (Havana, 1948)
3223 La africana de la música folclórica de Cuba (Havana, 1950)
3324 Los bailes y el teatro de los negros en el folklore de Cuba (Havana 1951)
3425 Los instrumentos de la música afrocubana (Havana, 1952 5)
3526 Tornberg 'Musical Instruments of the Afro-Cubans', Ethnos, xix/1 4 (1954), 105
3627 Borbolla 'La sincopa, expresión musical de las Americas' (Havana, 1968) [incl bibliography]
3728 Farray 'Romances y cantares españoles en la tradición cubana', Revista de la Universidad de Costa Rica (San Jose), xxvi (1969), 71
3829 A Leon 'Notas para un panorama de la música popular cubana' Revista nacional de cultura (Caracas), cciv (1972) 47
3930 GERARD BETHAGUE (I), CARLOS BORBOLLA (II)
41Cucin, Dimitrie (b Galați, 24 March 1885) Romanian composer, theorist and writer At the Bucharest Conservatory (1903 7) he studied theory and solfège with Kiriac, composition with Castaldi and the violin with Klencz. He continued his composition studies in Paris, with Widor at the Conservatoire (1907) and with d'Indy and Séréeys at the Schola Cantorum (1908 14). Back in Bucharest he was made professor of aesthetics and composition at the conservatory (1919 48) and he was also active as a music critic, founding and editing the review Foata voluntă (1932 3). His literary activities extended to translating opera and oratorio texts into Romanian and writing plays, novels, poems and opera texts in Romanian, French and English. Among his extensive theoretical writings, the valuable treatise on music aesthetics received a Romanian Academy prize. As a composer he has remained an isolated figure, partly as a result of his involved philosophical style, partly because of the huge forces demanded by his operas and symphonies. The first 14 symphonies are organized into a coherent tonal cycle; the later ones have contemplative programmes on life, death, human fate, etc. Each symphony follows a similar form: action, reaction, meditation, triumph of action over reaction.
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