Cuban Flute Style is thus a contextualised, analytical study, arising from a combination of Miller’s lessons from Egües, her research in Havana and New York, her subsequent experiences as a charanga bandleader, and the completion of a Leeds University PhD undertaken to study the processes involved in learning the charanga style of improvisation.
My paper is on 2 July:
Title: Analyzing Clave feel within melodic-rhythmic ‘mambo’ improvisation
‘Clave feel’ is often cited as one of the main elements of Cuban and salsa improvisation yet very little to date has been done to demonstrate this concept analytically whether using notation- or purely text-based analysis. The mambo-style solos of flautist José Fajardo are analysed here in order to demonstrate this clave concept using annotated transcriptions of recorded solos to demonstrate the relationship between the two-bar timeline of clave and melodic-rhythmic improvisation characteristic of Cuban and Latin popular styles.
Let me begin by saying that Sue Miller’s Cuban Flute Style is an extraordinarily comprehensive oeuvre, with respect to both the history and the technique of charanga flute playing. In addition, her book is realized with a broad as well as a thoughtful understanding of the entire tradition on which this style of music is based.
book launch for Cuban Flute Style@
LATIN AMERICAN MUSIC SEMINAR
Saturday 10th May 2014
Room G22-26 (Ground Floor)
Senate House, Malet Street
London WC1E 2HU
A morning of presentations finishing with:
3.00pm Sue Miller (Anglia Ruskin University, Cambridge), BOOK LAUNCH: Cuban Flute Style: Interpretation and Improvisation (Scarecrow Press 2013).
3.45pm Tea followed by live music performed by Charanga del Norte (Cuban charanga music which forms the focus of Sue Miller’s book).
I’m giving talks on Cuban music in London (2nd) and Cambridge (27th) this November – both are free and open to the public. The first on clave and improvisation is for LAMS (Latin American Music Seminars) at Senate House, London and the second is on the role of influence in the development of the Cuban flute style is at the University of Cambridge music department, West Road.
I have two entries on Cuban son and guajira in this excellent new book edited by David Horn. You can order a copy from Amazon and it will be out January 2014
Perceptions of authenticity in the performance of Cuban popular music in the United Kingdom: ‘Globalized incuriosity’ in the promotion and reception of uK-based Charanga del Norte’s music since 1998
Drawing on my own experiences both as a performer and researcher of Cuban music, this article challenges the essentialism inherent in much promotion of ‘Latin’ music in the United Kingdom today, illustrating how issues of ethnicity and gender affect perceptions of authenticity by means of a case study of Charanga del Norte, a UK-grown Cuban music dance band, over the last fifteen years.
I’m presenting a paper on clave feel in Latin improvisation at this conference.The conference will take place 2-4 July, 2013 and will include three distinguished keynote speakers:
Anne Danielsen (University of Oslo)
Walter Everett (University of Michigan)
Allan Moore (University of Surrey).
I’m attending IASPM next week – looking forward to speaking Spanish again!
This is my homage to Melquiades Fundora who died on 14 February 2009 I have played alongside him with La Sublime in Havana in 2006 and 2007 and this performance at the Cabaret Nacional in Havana on April 6th 2009 was a tribute to him as one of the founders of Orquesta Sublime in 1955. [...]