1939 First Edition Early Cuban Musicology Emilio Grenet Popular Cuban Music Rare

Description: Popular Cuban Music: 80 Revised and Corrected Compositions, Together with an Essay on the Evolution of Music in Cubaby Emilio GrenetPrologue by Dr. Eduardo Sanchez de FuentesTranslated by R. PhillipsHavana, April, MCMXXXIX [1939] 1939 first edition Carasa and Co. / Republic of Cuba (Havana, Cuban), 9 1/2 x 12 1/2 inches tall brown buckram cloth hardcover, no dust jacket, white lettering to front cover, xlix, 199 pp. Laid in is a note indicating: 'This book was presented to John E. Curtiss by Addison Durland, representative in Hollywood of the government of the Republic of Cuba, September, 1944.' Very slight soiling and moderate rubbing and edgewear to covers, with bumping to all four tips, lower spine, top edges of front and rear covers and to the fore edges of both front and rear covers. The bumping has resulted in very slight creasing to the lower portion of pages throughout. Otherwise, a very good copy - clean, bright and unmarked - of this rare work. OCLC (No. 959046210) locates only nine copies at institutions worldwide. A rare early exploration of Cuban music - one of the earliest contributions to musicological studies in Cuba - provided by Emilio Grenet (1901-1941), brother of the famous Cuban composer Eliseo Grenet (1893-1950). Popular Cuban Music presents a serious study of the Cuban popular music genres, and a thorough insight into the most important aspects of the musical creation in Cuba, from the nineteenth Century until that time. The book also includes 80 scores of representative compositions. A lifelong resident of Havana, Emilio Grenet studied sight-reading and music theory with professor Armando Laguardia and worked as a pianist in New York City in 1923. After returning to Cuba he traveled to Spain where he met composer Joaquin Turina who introduced him to his professor of Harmony, Conrado del Campo. Grenet returned again to Cuba where he worked in the Education Ministry Radio Station, started his investigations about the genres of Cuban popular music and travelled to New York City to record with the orchestra of his brother Eliseo Grenet. Emilio went on composing even after having a leg bitten off by a shark in 1930. He taught musical composition to the renowned Cuban conductor Enrique Gonzalez Mantici and Harmony to the composer and guitarist Vicente Gonzalez Rubiera (Guyun).

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