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The Salsa/Jazz/Blues Idiom and Creolization in the Atlantic World

  • James A. Noel
Chapter
  • 41 Downloads
Part of the Black Religion/Womanist Thought/Social Justice book series (BRWT)

Abstract

This chapter seeks to investigate the salsa/jazz/blues idiom as a means of discerning the nature of creolization in the Atlantic World as a feature of modernity. This term—salsa/jazz/blues—is definitely not stated in historical order but indicates the fact that by the time salsa received its label there was a mutual and reciprocal interrelationship between it and jazz and blues that continues to this day. I place salsa first in this term because had I started with the blues or jazz I would have been force to privilege the North American experience of creolization and then had to endeavor to include the Caribbean and other areas of the Atlantic World. To start with salsa brings us immediately into a discussion of migrations of Afro-Cubans and Afro-Puerto Ricans from the Caribbean to New York and other cities in Europe. The meaning of the term creolization will be elaborated on later. Suffice it to say at this point that its importance has to do with understanding the nature of modernity whose temporal structure I am situating in the Atlantic World. That world did not come into being until the extreme western end of Asia called Europe made contact and entered into a series of sustained and nonreciprocal exchanges with Africa and the Americas. Creolization was the biological and cultural product of this temporality.

Keywords

Popular Music Musical Genre Black Person African American Culture African Diaspora 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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Notes

  1. 1.
    Philip V. Bohlman, World Music: A Very Short Introduction (Oxford: Oxford University Press, 2002), p. 35.CrossRefGoogle Scholar
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    Manuel Alvarez Nazario, El Elemento Afronegroide En El Espanol De Puerto Rico (San Juan: Instituto De Cultura Puertorriquena, 1974), p. 335.Google Scholar
  3. 5.
    Peter Manuel, Caribbean Currents: Caribbean Music from Rumba to Raggae (Philadelphia: Temple University Press, 1995), pp. 35–36.Google Scholar
  4. 6.
    Leonard B. Meyer, Emotion and Meaning in Music (Chicago: University of Chicago Press, 1956), p. 243.Google Scholar
  5. 11.
    Michael P. Steinberg, Listening to Reason: Culture, Subjectivity, and Nineteenth-Century Music (Princeton, NJ: Princeton University Press, 2004), pp. 4–5.Google Scholar
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    Mark Evan Bonds, Music as Thought: Listening to the Symphony in the Age of Beethoven (Princeton, NJ: Princeton University Press, 2006), p. 10.Google Scholar
  7. 14.
    Robert Gooding-Williams, Look, A Negro: Philosophical Essays on Race, Culture and Politics (New York: Routledge, 2006), p. 95.Google Scholar

Copyright information

© James A. Noel 2009

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  • James A. Noel

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