Cuban Music from A to Z (review)

256 Arizona Journal of Hispanic Cultural Studies Kay Vaughan, she further proves that education was not imposed from above, but was constantly in a state of negotiation. Third, much as Temma Kaplan's study of Barcelona does, Schell shows that conservative women such as the damas should not be disregarded by feminist scholars, for often their actions had unintended revolutionary consequences by promoting social justice through community service, politicizing the role of motherhood, and gearing female education to the realities of lowerclass life. Unfortunately, Schelfs insights tend to get lost in a complex organizational structure and in her failure to emphasize key analytical points with strong topic sentences. In addition, die author does not mention edinicity, although Alan Knight, Guillermo Palacios, and orhers have shown indigenismo to be a major part of the revolutionary education project. One wonders if the church dealt with this subject, too, and if it did so differently than the government. However, in spite of these minor flaws, Schell's Church and State Education should be considered a work of significant historical import. Gretchen Kristine Pierce The University of Arizona Cuban Music from Ato Z Duke University Press, 2004 By Helio Orovio Cuban Music from Ato Z is λ convenient, English-language edition of Helio Orovio's Diccionario de k música cubana, which originally appeared in 1981 and was published in an expanded and revised edition in 1995 by Edición Letras Cubanas. Like the previous Spanish-language editions, Cuban Music from A to Z is a biographical and technical overview of 500 years of Cuban music past and presenr. The contents include entries identifying performers, composers , teachers, scholars, instruments, dances, compositional genres, journals, venues, and other topics (such as opera in Cuba or festivals) associated with music making on the island and, to a lesser extent, abroad. The clear, concise prose and rhe remarkably comprehensive nature of this trim edition make it a must for personal and academic libraries. Among the growing number of books dedicated to the serious srudy of Cuban music there is no other printed compendium comparable in format and scope. Orovio opens with a rwo-page overview of the history of Cuban music. His sweeping review reminds the reader of the fluidity of musical exchange rhat led to the development of new, indigenous musical styles. Orovio does not separate the spheres of classical music activity (música culta) from that of folk and popular music making, appropriately so, since these realms constantly overlap in Cuban practice. This inclusive practice has clearly guided Orovio 's decisions regarding the individual entries. For example, die contemporary popular singer Issac Delgado is given as much consideration as Gonzalo Roig, composer and founder of rhe National Symphony. Among the highlights of this new edition are the many photographs of musicians as well as the handsome line drawings created by Bobby Carcasses to illustrate musical instruments or dance steps for selected entries. Equally welcome are the comments on performance practice and contexts for entries on instruments such as the botija, the earthen jug used as a bass instrument in early son. The inclusion of short examples of musical notation might have strengthened entries such as die one on clave and would not have detracted from rhe book's value to a general audience. The appendix serves as a kind of index to the volume and collates the names of instruments , musical magazines, performance groups, and theaters appearing therein. Although including individual works could easily present a slippery slope, this reader could not help but wonder if a future volume might include a selected list of transcendent songs and compositions ("MarÃ-a de la O," "El Manisero," "Guantanamera ," etc.). The closing list of references sources provides a valuable basic bibliography for students of Cuban music. Arizona Journal of Hispanic Cultural Studies 257 Although contemporary artists and trends such asfilin and timba are included, the AfroCuban rap scene is not well represented. A reader searching for information on the celebrated hip hop group Orishas will not find it, nor any of the performers associated with the group. Perhaps such an omission reflects the defacto marginalization of rap cubano noted by London journalist and co-author oÃ- Afro-Cuban Voices...