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The Anticipated Bass in Cuban Popular Music
0 references·15 citing·33 second hop
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Cited by

  • 2019Rethinking Reich33 cited
  • 2019We Gon’ Be Alright? The Ambiguities of Kendrick Lamar’s Protest Anthem25 cited
  • 1999The embodiment of salsa: musicians, instruments and the performance of a Latin style and identity24 cited
  • 2018Theorizing Fundamental Music/Dance Interactions in Salsa20 cited
  • 2019Afro-Electric Counterpoint18 cited
  • 2019That’s All It Does13 cited
  • 2021The Political Force of Musical Actants: Grooves, Pleasures, and Politics in Havana D'Primera's ‘Pasaporte’ Live in Havana10 cited
  • 2009Apuntes para una prehistoria del mambo7 cited
  • 2019“Departing to Other Spheres”6 cited
  • 2005"You Shake Your Hips Too Much": Diasporic Values and Hawai'i Puerto Rican Dance Culture6 cited
  • 2012Grooves and Waves: Cyclicity and Narrativity in Cuban Timba Piano4 cited
  • 2013Groove Aesthetics in Afro-Cuban Jazz: Towards an Empirical Aesthetic Theory3 cited
  • 2009Reinterpretations of the Son: Versions of Guillén's Motivos de son by Grenet, García Caturla, and Roldán3 cited
  • 2019Steve Reich’s Counterpoints and Computers3 cited
  • 2008Semiotic Analysis of Osvaldo Golijov’s Musical Setting of the Passion Narrative in La Pasión según San Marcos

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2 cited