Product Description

Merengue—the quintessential Dominican dance music—has a long and complex history, both on the island and in the large immigrant community in New York City. In this ambitious work, Paul Austerlitz unravels the African and Iberian roots of merengue and traces its growth under dictator Rafael Trujillo and its renewed popularity as an international music.

Using extensive interviews as well as written commentaries, Austerlitz examines the historical and contemporary contexts in which merengue is performed and danced, its symbolic significance, its social functions, and its musical and choreographic structures. He tells the tale of merengue's political functions, and of its class and racial significance. He not only explores the various ethnic origins of this Ibero-African art form, but points out how some Dominicans have tried to deny its African roots.

In today's global society, mass culture often marks ethnic identity. Found throughout Dominican society, both at home and abroad, merengue is the prime marker of Dominican identity. By telling the story of this dance music, the author captures the meaning of mass and folk expression in contemporary ethnicity as well as the relationship between regional, national, and migrant culture and between rural/regional and urban/mass culture. Austerlitz also traces the impact of migration and global culture on the native music, itself already a vibrant intermixture of home-grown merengue forms.

From rural folk idiom to transnational mass music, merengue has had a long and colorful career. Its well-deserved popularity will make this book a must read for anyone interested in contemporary music; its complex history will make the book equally indispensable to anyone interested in cultural studies.

Product Details

• Amazon Sales Rank: #422476 in Books
• Published on: 1997-01-22
• Original language: English
• Number of items: 1
• Binding: Paperback
• 216 pages

Review
"This book points the way toward that ideal zone of understanding. Austerlitz is a leading scholar of merengue. But he wears his erudition lightly. Through all the exposition he remains a buen elemento, able to pick up a sax and play merengue with hes peers. His informants clearly consider him a colleague and share with him aesthetic judgements and considerations... The message of merengue, like rap, mambo, samba, and dancehall, ultimately may boil down to this: subvert the threat of a posthominid future with collective honesties of sweat and motion." --Robert Farris Thompson, from the Foreword "In a well written and organized narrative that avoids academic jargon, the book invites all kinds of readers to the world of 'euphoric sounds' that initially drew the author to this music...One of the most significant contributions of this study lies in its analysis of merengues's stylistic continuities and transformations. A jazz and merengue saxophonist himself since the 1980s, Austerlitz demonstrates a profound knowledge of how merengue 'works' musically, and a sharp ear in identifying significant stylistic characteristics and changes. His familiarity with the medium also gives him access to perceptions and value judgments of other musicians thereby enriching his analysis...The reader will be delighted with the sounds of all these voices integrated into a coherent historical account. Austerlitz also has an experienced voice. He has a riff that we want to go on hearing." --Mareia Quintero Rivera, The World of Music

From the Publisher
A fascinating examination of the social history of merengue dance music and its importance as a social and cultural symbol

From the Inside Flap
"This book points the way toward that ideal zone of understanding. Austerlitz is a leading scholar of merengue. But he wears his erudition lightly. Through all the exposition he remains a buen elemento, able to pick up a sax and play merengue with his peers. His informants clearly consider him a colleague and share with him aesthetic judgements and considerations.... The message of merengue, like rap, mambo, samba, and dancehall, ultimately may boil down to this: subvert the threat of a posthominid future with collective honesties of sweat and motion."
—Robert Farris Thompson, from the Foreword

"In a well written and organized narrative that avoids academic jargon, the book invites all kinds of readers to the world of 'euphoric sounds' that initially drew the author to this music....One of the most significant contributions of this study lies in its analysis of merengues's stylistic continuities and transformations. A jazz and merengue saxophonist himself since the 1980s, Austerlitz demonstrates a profound knowledge of how merengue 'works' musically, and a sharp ear in identifying significant stylistic characteristics and changes. His familiarity with the medium also gives him access to perceptions and value judgments of other musicians thereby enriching his analysis....The reader will be delighted with the sounds of all these voices integrated into a coherent historical account. Austerlitz also has an experienced voice. He has a riff that we want to go on hearing."
—Mareia Quintero Rivera, The World of Music

Customer Reviews

An Important Addition to the Library of Any Merengue Fan
If you are looking for a quick yet thorough coverage of this topic then this is the book for you. It is a relatively short book, coming in at 167 pages (not including bibliography but including notes section), yet it covers the whole spectrum of the national music of the Dominican Republic.

Mr Austerlitz covers the beginnings of this music all the way through to its current state. It also spends time on Merengue's development during the Trujillo era (a particularly interesting topic to anyone who studies the Dominican Republic).

Mr Austerlitz also does a good job of addressing the sociological issues that arise from music and manages to blend well the merengue of the campo with that of the salon.

A good read and it even comes with a CD with some very good campo (country) merengue. If you are looking for merengue at its roots then this CD should please you.

TABLE OF CONTENTS:

1.Introduction

PART 1: THE HISTORY OF MERENGUE 1854-1961. 2. Nineteenth-Century Caribbean Merengue. 3. Merengue Cibaeno, Cultural Nationalism, and Resistance. 4. Music and the State: Merengue during the Era of Trujillo, 1930-1961.

PART 2: The Contemporary Era, 1961-1995. 5. Merengue in the Transnational Community. 6. Innovation and Social Issues in Pop Merengue. 7. Merengue on the Global Stage. 8. Enduring Localism. 9. Conclusion

Let me know if you found this useful.

Great Overview of Merengue
Enjoyed the insight into the history of Merengue and its cultural context. This book has a place on my bookshelf along with "The Latin Tinge" and "The Brazilian Sound."

Perfect!
The book was brand new and was the one I needed for class. I couldn't find it in our book store, but luckily enough, amazon had it! Thanks!