manu/mldr-zoomed-100char-total-queries-documents

chunk_id stringlengths 3 9	chunk stringlengths 1 100
9855_49	Athletes (track and field) at the 1990 Commonwealth Games
9855_50	World Athletics Championships athletes for Great Britain World Athletics Championships medalists
9855_51	Athletes from Yorkshire Medalists at the 1988 Summer Olympics
9855_52	Olympic silver medalists in athletics (track and field)
9856_0	Throughout the years, the Cuban nation has developed a wealth of musicological material created by
9856_1	numerous investigators and experts on this subject.
9856_2	Early 20th century
9856_3	Apart from the work of some authors who provided information about the music in Cuba during the
9856_4	19th century, that was usually included in chronicles covering a more general subject, the first
9856_5	investigations and studies specifically dedicated to the musical art and practice did not appear in
9856_6	Cuba until the beginning of the 20th century.
9856_7	At that time, musicological research and documentation in Cuba was not undertaken by professionals
9856_8	fully dedicated to that subject, but instead it was conducted by historians, ethnologists or
9856_9	composers such as polymath Fernando Ortiz (b. 1881) or composer Eduardo Sánchez de Fuentes (b.
9856_10	1874). The controversy sustained by these distinguished personalities in reference to the possible
9856_11	African (or indigenous) roots of Cuban music spanned several decades, from the 1930s to the 1950s.
9856_12	Another important personality, María Muñoz (b. 1886), a Galician pianist, professor and choir
9856_13	conductor that graduated at the Madrid Conservatory under the guidance of Manuel de Falla,
9856_14	developed an outstanding musical activity in Cuba. Together with her husband Antonio Quevedo, she
9856_15	co-founded the Society of Contemporary Music in 1929, promoted the cultural journal “Musicalia” and
9856_16	founded the Havana Choral Society. Together with Fernando Ortiz, she gave summer courses on
9856_17	musicology at the Havana University from the 1930s. Those courses nurtured and stimulated the
9856_18	careers of some future outstanding musicologists such as María Teresa Linares Savio (b. 1920).
9856_19	One of the earliest contribution to musicological studies in Cuba was provided by Emilio Grenet,
9856_20	brother of the famous Cuban composer Eliseo Grenet.
9856_21	Emilio Grenet was born in Havana in 1901 and passed away in the same city, in 1941. He studied
9856_22	Sight-reading and Music theory with professor Armando Laguardia and worked as a pianist in New York
9856_23	City in 1923. After returning to Cuba he traveled to Spain where he met composer Joaquín Turina who
9856_24	introduced him to his professor of Harmony, Conrado del Campo.
9856_25	Grenet returned again to Cuba where he worked in the Education Ministry Radio Station, started his
9856_26	investigations about the genres of Cuban popular music and travelled to New York City to record
9856_27	with the orchestra of his brother Eliseo Grenet. He taught Musical composition to the renowned
9856_28	Cuban conductor Enrique González Mántici and Harmony to the composer and guitarist Vicente González
9856_29	Rubiera (Guyún).
9856_30	In 1939, Grenet published his important work "Cuban popular music", which represented a serious
9856_31	study of the Cuban popular music genres, and a thorough insight into the most important aspects of
9856_32	the musical creation in Cuba, from the 19th Century until that time. The book also included 80
9856_33	scores of representative compositions.
9856_34	1940s and 1950s
9856_35	In 1946, the famous Cuban writer, art critic and musicologist Alejo Carpentier (b. 104) established
9856_36	a benchmark with his work “La música en Cuba” (1946), an attempt to put together a comprehensive
9856_37	history of Cuban music from the 16th century until his time. Although the work presented as facts
9856_38	some controversial historical issues, such as the origins of the well known “Son de la Mateodora”
9856_39	and the “Cuban Contradanza”, this important study (based on extensive investigations conducted by
9856_40	Carpentier) offered a deep insight into Cuban music history never witnessed before.
9856_41	Coincidentally, young composers and musicologists such as Argeliers León (b. 1918) and Hilario
9856_42	González (b. 1920) were diligently working along with José Ardévol at “Grupo de Renovación
9856_43	Musical” to improve and renovate the Cuban musical panorama. In 1947, Argeliers León continued
9856_44	offering the musicology summer courses started by María Muñoz and Fernando Ortiz at the Havana
9856_45	University and served as a professor of such prominent students as pianist and professor Ana
9856_46	Margarita Aguilera Ripoll (b. 1903), author of the important compilation of children songs
9856_47	“Cancionero Infantil de Hispanoamérica.” Other contemporary Cuban musicologists were María
9856_48	Antonieta Henriquez, founder of the National Museum of Music, and Lydia Cabrera, an anthropologist
9856_49	renowned for her studies of Afro-Cuban music.
9856_50	Post revolutionary period (1959)
9856_51	After the Cuban Revolution in 1959, Pablo Hernández Balaguer (b. 1928) was teaching musicology at
9856_52	the Oriente University, an educational institution that offered the first Music Degree in the
9856_53	history of Cuba. Balaguer conducted an important study about the work of composer Esteban Salas and
9856_54	published the Music Catalog from the archives of the Santiago de Cuba Cathedral. He was a professor
9856_55	of several distinguished musicologists such as Virtudes Feliú Herrera (b. 1941), who conducted a
9856_56	thorough research into Cuban historical ritual and festive traditions. Her work has been compiled
9856_57	in the “Ethnographic Atlas of Cuba,” which received an award from the Cuban Academy of Science.
9856_58	Argeliers León and his wife María Teresa Linares Savio were the leading figures of Cuban musicology
9856_59	during the early decades after the Cuban Revolution (1959). Between 1961 and 1970, León was de
9856_60	director of the Institute of Ethnology and Folklore at the Academy of Sciences of Cuba and he also
9856_61	headed the Folklore Department at the National Theater of Cuba, the Music Department of the José
9856_62	Martí National Library and the Music Department at Casa de Las Américas. He served as professor at
9856_63	the Havana Municipal Conservatory, taught African cultures in Cuba at the Havana University and
9856_64	musicology at the Instituto Superior de Arte (ISA). As a musicologist he published several books
9856_65	which included Del Canto y el Tiempo (1974), where he proposed a subdivision in “generic complexes”
9856_66	to study the musical styles in Cuba.
9856_67	María Teresa Linares conducted extensive investigation on several areas of Cuban music history and
9856_68	published numerous books and articles. She worked as a professor at the Alejandro García Caturla
9856_69	Conservatory, the Havana University and the Institute of Ethnology and Folklore at the Academy of
9856_70	Sciences. Until year 2000 she was the director of the Museum of Music, and at a later time she was
9856_71	affiliated to the Fernando Ortiz Foundation.
9856_72	During the first decade of the Cuban Revolution (1960 to 1970) an emerging generation of
9856_73	musicologists started to acquire recognition within the Cuban musical scene. We should mention, in
9856_74	first place, two humble and dedicated investigators that had certain common characteristics. They
9856_75	both had university backgrounds and worked for many years at the José Martí National Library as
9856_76	researchers; also their main subjects of investigation were somewhat related to the musicological
9856_77	work of Alejo Carpentier. Alberto Muguercia (b. 19280), a lawyer from Santiago de Cuba holds the
9856_78	honor of having refuted one of the greatest myths in the history of Cuban music: The “Son de la Ma
9856_79	Teodora” origins. In his famous book “La música en Cuba”, Alejo Carpentier categorically attributed
9856_80	a 16th-century origin to a popular melody called Son de la Ma Teodora without conducting a thorough
9856_81	investigation about the subject, thus establishing an erroneous fact as a popular tradition. In a
9856_82	brilliant article about this subject: “Teodora Ginés: ¿Mito o realidad histórica? Muguercia
9856_83	demonstrated the inaccuracy of this theory.
9856_84	In turn, Zolia Lapique (b. 1930), a librarian and historian, refuted a theory formulated by
9856_85	Carpentier in reference to the French-Haitian origin of the “Contradanza Cubana”. She attributed an
9856_86	earlier development and other possible origins (Spanish and English) to this musical style in her
9856_87	outstanding article: “Aportes Franco-Haitianos a la contradanza cubana: mitos y realidades.”
9856_88	Other prominent members of this generation are: Cristóbal Díaz Ayala (b. 1930), author of a
9856_89	complete Cuban music discography, Jorge Ibarra (b. 1931), Leonardo Acosta (b. 1933), Dulcila
9856_90	Cañizares (b. 1936), Raul Martínez Rodríguez (b. 1937), Helio Orovio (b. 1938), Radamés Giro (b.
9856_91	1940), Danilo Orozco (b. 1944) and Alberto Faya (1944).
9856_92	The second generation (1970s) and beyond
9856_93	The members of the second generation of Cuban musicologists that appeared during the Cuban
9856_94	Revolution period, graduated in their great majority either from the Havana Municipal Conservatory
9856_95	or the Instituto Superior de Arte (ISA), which from 1976 offered the first Musicology Degree in the

9855_49

Athletes (track and field) at the 1990 Commonwealth Games

9855_50

World Athletics Championships athletes for Great Britain World Athletics Championships medalists

9855_51

Athletes from Yorkshire Medalists at the 1988 Summer Olympics

9855_52

Olympic silver medalists in athletics (track and field)

9856_0

Throughout the years, the Cuban nation has developed a wealth of musicological material created by

9856_1

numerous investigators and experts on this subject.

9856_2

Early 20th century

9856_3

Apart from the work of some authors who provided information about the music in Cuba during the

9856_4

19th century, that was usually included in chronicles covering a more general subject, the first

9856_5

investigations and studies specifically dedicated to the musical art and practice did not appear in

9856_6

Cuba until the beginning of the 20th century.

9856_7

At that time, musicological research and documentation in Cuba was not undertaken by professionals

9856_8

fully dedicated to that subject, but instead it was conducted by historians, ethnologists or

9856_9

composers such as polymath Fernando Ortiz (b. 1881) or composer Eduardo Sánchez de Fuentes (b.

9856_10

1874). The controversy sustained by these distinguished personalities in reference to the possible

9856_11

African (or indigenous) roots of Cuban music spanned several decades, from the 1930s to the 1950s.

9856_12

Another important personality, María Muñoz (b. 1886), a Galician pianist, professor and choir

9856_13

conductor that graduated at the Madrid Conservatory under the guidance of Manuel de Falla,

9856_14

developed an outstanding musical activity in Cuba. Together with her husband Antonio Quevedo, she

9856_15

co-founded the Society of Contemporary Music in 1929, promoted the cultural journal “Musicalia” and

9856_16

founded the Havana Choral Society. Together with Fernando Ortiz, she gave summer courses on

9856_17

musicology at the Havana University from the 1930s. Those courses nurtured and stimulated the

9856_18

careers of some future outstanding musicologists such as María Teresa Linares Savio (b. 1920).

9856_19

One of the earliest contribution to musicological studies in Cuba was provided by Emilio Grenet,

9856_20

brother of the famous Cuban composer Eliseo Grenet.

9856_21

Emilio Grenet was born in Havana in 1901 and passed away in the same city, in 1941. He studied

9856_22

Sight-reading and Music theory with professor Armando Laguardia and worked as a pianist in New York

9856_23

City in 1923. After returning to Cuba he traveled to Spain where he met composer Joaquín Turina who

9856_24

introduced him to his professor of Harmony, Conrado del Campo.

9856_25

Grenet returned again to Cuba where he worked in the Education Ministry Radio Station, started his

9856_26

investigations about the genres of Cuban popular music and travelled to New York City to record

9856_27

with the orchestra of his brother Eliseo Grenet. He taught Musical composition to the renowned

9856_28

Cuban conductor Enrique González Mántici and Harmony to the composer and guitarist Vicente González

9856_29

Rubiera (Guyún).

9856_30

In 1939, Grenet published his important work "Cuban popular music", which represented a serious

9856_31

study of the Cuban popular music genres, and a thorough insight into the most important aspects of

9856_32

the musical creation in Cuba, from the 19th Century until that time. The book also included 80

9856_33

scores of representative compositions.

9856_34

1940s and 1950s

9856_35

In 1946, the famous Cuban writer, art critic and musicologist Alejo Carpentier (b. 104) established

9856_36

a benchmark with his work “La música en Cuba” (1946), an attempt to put together a comprehensive

9856_37

history of Cuban music from the 16th century until his time. Although the work presented as facts

9856_38

some controversial historical issues, such as the origins of the well known “Son de la Mateodora”

9856_39

and the “Cuban Contradanza”, this important study (based on extensive investigations conducted by

9856_40

Carpentier) offered a deep insight into Cuban music history never witnessed before.

9856_41

Coincidentally, young composers and musicologists such as Argeliers León (b. 1918) and Hilario

9856_42

González (b. 1920) were diligently working along with José Ardévol at “Grupo de Renovación

9856_43

Musical” to improve and renovate the Cuban musical panorama. In 1947, Argeliers León continued

9856_44

offering the musicology summer courses started by María Muñoz and Fernando Ortiz at the Havana

9856_45

University and served as a professor of such prominent students as pianist and professor Ana

9856_46

Margarita Aguilera Ripoll (b. 1903), author of the important compilation of children songs

9856_47

“Cancionero Infantil de Hispanoamérica.” Other contemporary Cuban musicologists were María

9856_48

Antonieta Henriquez, founder of the National Museum of Music, and Lydia Cabrera, an anthropologist

9856_49

renowned for her studies of Afro-Cuban music.

9856_50

Post revolutionary period (1959)

9856_51

After the Cuban Revolution in 1959, Pablo Hernández Balaguer (b. 1928) was teaching musicology at

9856_52

the Oriente University, an educational institution that offered the first Music Degree in the

9856_53

history of Cuba. Balaguer conducted an important study about the work of composer Esteban Salas and

9856_54

published the Music Catalog from the archives of the Santiago de Cuba Cathedral. He was a professor

9856_55

of several distinguished musicologists such as Virtudes Feliú Herrera (b. 1941), who conducted a

9856_56

thorough research into Cuban historical ritual and festive traditions. Her work has been compiled

9856_57

in the “Ethnographic Atlas of Cuba,” which received an award from the Cuban Academy of Science.

9856_58

Argeliers León and his wife María Teresa Linares Savio were the leading figures of Cuban musicology

9856_59

during the early decades after the Cuban Revolution (1959). Between 1961 and 1970, León was de

9856_60

director of the Institute of Ethnology and Folklore at the Academy of Sciences of Cuba and he also

9856_61

headed the Folklore Department at the National Theater of Cuba, the Music Department of the José

9856_62

Martí National Library and the Music Department at Casa de Las Américas. He served as professor at

9856_63

the Havana Municipal Conservatory, taught African cultures in Cuba at the Havana University and

9856_64

musicology at the Instituto Superior de Arte (ISA). As a musicologist he published several books

9856_65

which included Del Canto y el Tiempo (1974), where he proposed a subdivision in “generic complexes”

9856_66

to study the musical styles in Cuba.

9856_67

María Teresa Linares conducted extensive investigation on several areas of Cuban music history and

9856_68

published numerous books and articles. She worked as a professor at the Alejandro García Caturla

9856_69

Conservatory, the Havana University and the Institute of Ethnology and Folklore at the Academy of

9856_70

Sciences. Until year 2000 she was the director of the Museum of Music, and at a later time she was

9856_71

affiliated to the Fernando Ortiz Foundation.

9856_72

During the first decade of the Cuban Revolution (1960 to 1970) an emerging generation of

9856_73

musicologists started to acquire recognition within the Cuban musical scene. We should mention, in

9856_74

first place, two humble and dedicated investigators that had certain common characteristics. They

9856_75

both had university backgrounds and worked for many years at the José Martí National Library as

9856_76

researchers; also their main subjects of investigation were somewhat related to the musicological

9856_77

work of Alejo Carpentier. Alberto Muguercia (b. 19280), a lawyer from Santiago de Cuba holds the

9856_78

honor of having refuted one of the greatest myths in the history of Cuban music: The “Son de la Ma

9856_79

Teodora” origins. In his famous book “La música en Cuba”, Alejo Carpentier categorically attributed

9856_80

a 16th-century origin to a popular melody called Son de la Ma Teodora without conducting a thorough

9856_81

investigation about the subject, thus establishing an erroneous fact as a popular tradition. In a

9856_82

brilliant article about this subject: “Teodora Ginés: ¿Mito o realidad histórica? Muguercia

9856_83

demonstrated the inaccuracy of this theory.

9856_84

In turn, Zolia Lapique (b. 1930), a librarian and historian, refuted a theory formulated by

9856_85

Carpentier in reference to the French-Haitian origin of the “Contradanza Cubana”. She attributed an

9856_86

earlier development and other possible origins (Spanish and English) to this musical style in her

9856_87

outstanding article: “Aportes Franco-Haitianos a la contradanza cubana: mitos y realidades.”

9856_88

Other prominent members of this generation are: Cristóbal Díaz Ayala (b. 1930), author of a

9856_89

complete Cuban music discography, Jorge Ibarra (b. 1931), Leonardo Acosta (b. 1933), Dulcila

9856_90

Cañizares (b. 1936), Raul Martínez Rodríguez (b. 1937), Helio Orovio (b. 1938), Radamés Giro (b.

9856_91

1940), Danilo Orozco (b. 1944) and Alberto Faya (1944).

9856_92

The second generation (1970s) and beyond

9856_93

The members of the second generation of Cuban musicologists that appeared during the Cuban

9856_94

Revolution period, graduated in their great majority either from the Havana Municipal Conservatory

9856_95

or the Instituto Superior de Arte (ISA), which from 1976 offered the first Musicology Degree in the