{"id":576,"date":"2019-02-01T00:00:33","date_gmt":"2019-02-01T05:00:33","guid":{"rendered":"https:\/\/magazineampm.com\/?p=576"},"modified":"2022-03-15T12:55:28","modified_gmt":"2022-03-15T16:55:28","slug":"cronologia-no-exhaustiva-sobre-periodismo-musical-escrito-en-cuba","status":"publish","type":"post","link":"https:\/\/magazineampm.com\/en\/cronologia-no-exhaustiva-sobre-periodismo-musical-escrito-en-cuba\/","title":{"rendered":"A (non-exhaustive) Chronology of music journalism written in Cuba"},"content":{"rendered":"

Due to reasons of space, this article must leave out for now, and devote a second chronology to, columns and blogs about Cuban music that have appeared, throughout the history of national journalism, in publications that are not strictly musical.<\/em><\/p>\n

\"\"<\/p>\n

The<\/strong> Musical Propaganda<\/strong>\u00a0First music magazine, with a monthly frequency. He had as director or agglutinating figure the renowned composer, pianist and pedagogue Hubert de Blanck, Dutch by birth, and Cuban by citizenship and passion.\"\"<\/p>\n

Gaceta Musical de La Habana<\/strong>\u00a0Its editor was Seraf\u00edn Ram\u00edrez, considered the founder of music criticism in Cuba, and who in 1959 premiered this genre among Cuban publications. His book, La Habana art\u00edstica. Apuntes hist\u00f3ricos (1891), is a classic for understanding cultural life in the Cuban capital in the late 19th century. He is also known to have collaborated with Jos\u00e9 Mar\u00edn Varona of Camaguey. Artistic Havana Historical notes<\/em> (1891) is a classic to understand the cultural life of the Cuban capital at the end of the 19th century. The Camag\u00fcey-born Jos\u00e9 Mar\u00edn Varona was one of his collaborators.\"\"<\/p>\n

Cuba Musical Magazine<\/strong>\u00a0Its origins are debated. Some say it was founded and led by Jos\u00e9 Mar\u00edn Varona, while others say it was Hubert de Blanck. Its chronicles and reviews accurately covered the Havana music scene in the first few years of the 20th century. Joaqu\u00edn Nin appears as a contributor, with his section \u201cLetters from France.\u201d\"\"<\/p>\n

Correo Musical Magazine<\/strong>\u00a0The 1st started March 1917, biweekly, as "Organ of the National Conservatory of Music of Havana". Its director \/ owner was Hubert de Blanck. In its two periods of existence it was subtitled first as "Universal artistic publication" and then "Illustrated monthly magazine". It was edited by the company Correo Musical, owned by Blanck.\"\"<\/p>\n

Musicalia<\/strong> Created in Havana as a quarterly by Mar\u00eda Mu\u00f1oz and Antonio Quevedo, she a Galician-born pianist and choral director, and he a Madrid-born engineer by profession who worked as a music critic. The magazine was somewhat unstable in its periodicity due to financial problems. In 1940 it was relaunched, with Jos\u00e9 Ard\u00e9vol as editorial manager and Joaqu\u00edn Nin as secretary. In this second stage, contributors included Alejo Carpentier, Fernando Ortiz, Francisco Ichaso, \u00c1ngel Gaztelu, C\u00e9sar P\u00e9rez Sentenat, Guillermo M. Tom\u00e1s and Hilario Gonz\u00e1lez.\"\"<\/p>\n

Pro-Musical Art<\/strong>\u00a0Mrs. Mar\u00eda Teresa Garc\u00eda Montes de Giberga founded in 1918 the Sociedad Pro-Arte Musical de La Habana, a private cultural institution, whose objective was to disseminate European symphonic music among the Cuban bourgeoisie. With his performance, Pro-Arte Musical contributed, perhaps unintentionally, to counteract the American influence in different spheres of national culture. He maintained from 1960 to 1962 a newsletter for his partners.\"\"<\/p>\n

Conservatory Magazine <\/strong>A quarterly magazine published by the Havana Municipal Conservatory of Music. Its first editor, musician and publicist Ithiel Le\u00f3n, said the magazine\u2019s goal was to \u201cmake known artistic manifestations according to the purest current tendencies\u2026\u201d Its writers included Harold Gramatges, Jos\u00e9 Ard\u00e9vol, Argeliers Le\u00f3n and Edgardo Mart\u00edn. In 1948, Ra\u00fal G. Anckerman took over as editor. Alejo Carpentier and Jorge Ma\u00f1ach were frequent contributers in the magazine\u2019s later years.\"\"<\/p>\n

Music Magazine\u00a0<\/strong>Sponsored by the Sociedad de Ediciones Cubanas de M\u00fasica, with Ithiel Le\u00f3n as editor, this quarterly was published eight times in four years. Its content was divided into two parts: technical (scientific) articles about music, and reviews about music events in Havana and the Cuban provinces, along with international news. Each issue concluded with a one-page essay on music-related issues. Its contributors were associated with the Grupo de Renovaci\u00f3n Musical (\u201cMusic Renewal Group\u201d).\"\"<\/p>\n

Music Magazine<\/strong>\u00a0Publication of the Music Department of the Jos\u00e9 Mart\u00ed National Library, directed by Argeliers Le\u00f3n. Its objective was "to contribute to the musicological knowledge of our country". The magazine published works on European music and traditional Cuban music, emphasizing the state of its genres at the beginning of the Revolution. His pages collected musical scores, photos and prints. Among the collaborators are Ramiro Guerra, Leo Brouwer, Edgardo Mart\u00edn, Mar\u00eda Antonieta Henr\u00edquez, Zoila Lapique and Mar\u00eda Teresa Linares.\"\"<\/strong><\/p>\n

Music Bulletin <\/strong>Published by music department of Casa de las Am\u00e9ricas, specializing in Latin American music and musicology, with articles, reviews, news, commentary and regular sections about the institution\u2019s Music College and recent work by regional composers. Each issue presents the print version of a music composition, as well as pullout supplements by the composer, and is devoted to well-known Latin American music figures.\"\"<\/p>\n

Key <\/strong>In its first stage (1986-1990), it functioned as a source of news and ideas about the most diverse issues of Cuban music culture, and as a reflection of music events in the country, and contacts with other world cultures. Its writers included musicologists, composers, performers, journalists and researchers. Since 1999, it has been a publication of the Cuban Institute of Music, with musicologist Laura Vilar as editor.\"\"<\/p>\n

Cuban sauce <\/strong>Publication about the Cuban music world and its transcendence and influence internationally. Published by the CIDGRAF under the auspices of EGREM. Its editor was Amado C\u00f3rdova. At one point, it published a promotional CD with the magazine.<\/p>\n

\"\"<\/p>\n

Tropicana International<\/strong>\u00a0Magazine of the Cuban Association of Composers and Music Authors (Asociaci\u00f3n Cubana de Compositores y Autoes de M\u00fasica, ACCAM), with composer Nester Mile as editor, and support from the Societal General de Autoes y Editors (SGAE). Its goal was to \u201cmake known the best values of Cuban music of all times.\u201d Irregular periodicity.\"\"<\/p>\n

Cuban Music Magazine of the UNEAC <\/strong>Publication of the Association of Musicians of the Union of Writers and Artists of Cuba, founded by the teacher Jos\u00e9 Loyola. Its current director is the journalist Pedro de la Hoz. It publishes two numbers per year in the current stage, which include background articles, short essays, interviews and reviews. It aims to reflect the tradition and current status of Cuban music in its most diverse styles and tendencies and to offer profiles of its most notorious contemporary composers and performers.\"\"<\/p>\n

Fanzines<\/em><\/strong> of rock <\/strong>Independent publications, usually made with modest resources and conceived by a fanatic who addresses other fans. For its quality or periodicity, we highlight Turbulence<\/em>, Insanedrac<\/em>, Moth in the shade,<\/em> Delusion<\/em>, The G Point<\/em> and Scriptorium<\/em>. As of the year 2000, many are replaced by webzines<\/em><\/strong>, equivalent to fanzines<\/em> in cyberspace, as they were Subtle Death <\/em>(Continuer on the web of Turbulence<\/em>), Metal for your Veins<\/em> and Cuba-metal<\/em>, which became an electronic portal.\"\"<\/p>\n

Timba.com <\/a><\/strong>\u00a0According to its website, it is "the largest portal and the home of Cuban music on the net ... definitive source for artist profiles, tours, new albums, concert reviews and educational information". It also works as a radio station and online store. Specialized in popular dance music. A project led by Mike Lazarus and Kevin Moore and where one of the most active collaborators is the enthusiastic promoter of Latin music, the American Bill Tilford.\"\"<\/p>\n

Jarock Coffee <\/strong>It emerged as part of the activities to celebrate the First Congress of the Hermanos Sa\u00edz Association (AHS). It attempted to be a quarterly, assessing and evaluating projects within the national rock movement, and acting as a media outlet for Cuban rock band events. Its editor was N\u00e9stor Camino Peraza.\"\"<\/p>\n

Cubadisco<\/strong> A newspaper published by the Ministry of Culture\u2019s Cuban Institute of Music, and since 2007, by the National Phonographic Office. It is issued as a daily during the Cubadisco event, and at other times as a monthly.\"\"<\/p>\n

Movement <\/strong>Printed magazine dedicated to hip hop culture in Cuba, sponsored by the Cuban Institute of Music and the Cuban Rap Agency. In his decade of life he managed to publish 11 issues. According to its first director, the promoter Ariel Fern\u00e1ndez, was "a magazine born and created from the heart of a movement underground<\/em>, rebellious and rebellious by its own nature ".\"\"<\/p>\n

The Corchea.<\/strong>\u00a0Publication of the Cuban Institute of Music\u2019s Communications Department. It takes up current affairs in Cuban music, news, events, criticism, personalities and music history. It is currently bimonthly or quarterly, and issued as an electronic bulletin in PDF format. Its editor is Natacha Garc\u00eda Vald\u00e9s.\"\"<\/p>\n

Cuban dream<\/a> <\/strong>He calls himself "The Portal of Cuban Music". On the site, music news and a billboard of concerts in Cuba appear. Shows reviews of the life and work of artists, galleries, discographies and video clips. In November 2014, it began to publish a PDF version that covered four issues, until 2015.\"\"<\/p>\n

Palamusicaunderground<\/a><\/strong>\u00a0Web magazine and digital news bulletin, articles, reviews and interviews about the most alternative movement of hip hop and urban music.<\/p>\n

\"\"<\/p>\n

D'Cuba Jazz <\/strong><\/a> Website within the Portal Cubarte, with news, chronicles, profiles and reviews of Cuban jazz.<\/p>\n

\"\"<\/p>\n

The syncopated Habanero <\/strong><\/a> Digital bulletin published by the Musical Cabinet Esteban Salas, under the direction of Dr. Miriam Escudero.<\/p>\n

\"\"<\/p>\n

Music, Memory and Presence<\/strong> Digital bulletin (in PDF) of the Museum of Music. It proposes to be a quarterly and is sent by email to anyone who might be interested in its subject matter, especially: reviews regarding events of Cuban music history, profiles of unique music figures, and news about the Museum\u2019s work, collections and activities. Its editor is Jes\u00fas G\u00f3mez Cairo.\"\"<\/p>\n

Lucas<\/a> <\/strong>Juvenile supplement of the Editorial En Vivo<\/em>, of the Cuban Institute of Radio and Television. It deals with the current situation of the Cuban video clip movement. It has different sections and contents that promote the work of national musicians and video clip makers, while inserting specialized criticism in audiovisuals. Currently directed by Yuleidys Rojas.\"\"<\/p>\n

Coocuyo Magazine<\/strong><\/a>\u00a0It calls itself the Official Portal of Electronic Music of Cuba. According to its creators, "was born to make known the Cuban electronic scene in the world (techno, deep, house, electro, minimal, EDM, drum 'n bass, hip hop), with strong push and work of the dj and producers and the contamination with the world of music in general. "<\/p>","protected":false},"excerpt":{"rendered":"

A tour through the illustrious past of Cuban publications on music<\/p>","protected":false},"author":1297,"featured_media":2333,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[1766],"tags":[51],"coauthors":[695,158,226,696],"class_list":["post-576","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articulos","tag-periodismo-musical"],"acf":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/magazineampm.com\/wp-content\/uploads\/2018\/05\/cronologia-periodismo-musical-cover.jpg?fit=1920%2C1080&ssl=1","_links":{"self":[{"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/posts\/576","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/users\/1297"}],"replies":[{"embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/comments?post=576"}],"version-history":[{"count":2,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/posts\/576\/revisions"}],"predecessor-version":[{"id":10395,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/posts\/576\/revisions\/10395"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/media\/2333"}],"wp:attachment":[{"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/media?parent=576"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/categories?post=576"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/tags?post=576"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/coauthors?post=576"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}