Читать книгу The City of Musical Memory - Lise A. Waxer - Страница 7

Illustrations

Frontispiece	Colombia
Figure 1.1	Clave pattern
Figure 1.2	Habanera and anticipated bass patterns
Figure 1.3	Basic rhythmic patterns in Cuban son and salsa
Figure 1.4	Basic bomba rhythm
Figure 1.5	Basic plena rhythm
Figure 1.6	Cumbia and porro rhythmic patterns used for música tropical
Figure 1.7	Typical melodic cells in música tropical
Figure 1.8	Plaza Caicedo (c. 1925)
Figure 2.1	Evelio Carabalí and Esmeralda (early 1970s)
Figure 2.2	Comparison of pachanga and música tropical patterns
Figure 2.3	Caleño salsa dancer (1996)
Figure 2.4	Ballet de la Salsa (early 1970s)
Figure 2.5	Ballet de la Salsa (early 1970s)
Figure 2.6	Ballet de la Salsa (early 1970s)
Figure 2.7	Ballet de la Salsa (early 1970s)
Figure 3.1	Jaime Camargo’s templo de Babalú
Figure 3.2	La Barola, with owner Miguel Angel Saldarriaga and wife
Figure 3.3	Taberna Latina
Figure 3.4	Gary Domínguez
Figure 3.5	Pablo y su Música
Figure 4.1	Música tropical figure from “Las Caleñas son como las flores”
Figure 4.2	Grupo Niche
Figure 4.3	Melodic quote from “Mi Buenaventura” in “Buenaventura y Caney”
Figure 4.4	Incipit of “Mi Buenaventura” (original version)
Figure 4.5	Crossed clave from introduction to “Cali pachanguero”
Figure 4.6	Alexis Lozano
Figure 4.7	Opening measures of “La pollera colora,” quoted in “Cocorobé”
Figure 4.8	La Misma Gente
Figure 4.9	“Rosalia,” instrumental break with jazz harmony
Figure 5.1	Son de Azucar
Figure 5.2	La Charanguita
Figure 6.1	Campanero (cowbell player)
Figure 6.2	Local campanero being asked to stop playing
Figure 6.3	Campana bell pattern
Figure 6.4	First Encuentro de Salsotecas (1991)
Figure 6.5	Encuentro de Salsotecas in the Parque de la Música (1999)
Figure 6.6	Encuentro de Salsotecas in the Parque de la Música
Tables
Table 3.1	Salsotecas and tabernas in Cali, 1980–96
Table 5.1	Caleño orquestas (1995)

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