Authored Book (A) (A) Double Weighted
Popular Music, Ethnomusicology, Performance
Charanga Time is a two-track recording by Sue Miller, an internationally recognised leading scholar and performer in the fields of Cuban music and US-based Latin music. Her first monograph Cuban Flute Style: Interpretation and Improvisation (Scarecrow Press, 2014) forms the background to this work, which links to her professional performance work with her ensemble Charanga del Norte, to her next book Improvising Sabor: Afro-Cuban Dance Music in New York (University Press of Mississippi, 2018), and to her interdisciplinary research in music and dance.
The recording Charanga Time is designed to investigate the New York sound or ‘sabor’ and the flute improvisations by Miller on this recording draw on the Cuban flute style, the subject of her first monograph, and on her more recent research into Latin music in the USA. Analysis of flautist Rolando Lozano’s soloing style is featured in her second monograph in Chapter 10, entitled La Mecha: Fajardo, Lozano and Belisario and features the notated scores from this recording alongside the original solos transcribed by Miller for the purpose of detailed musical analysis. The book looks at how Cuban music was performed, adapted and transformed in the USA and the music on Charanga Time is analysed in the book. In terms of methodology, practice as research therefore informs the scholarly written work, providing audio and related notated score examples to demonstrate musical process and change. These pieces from Charanga Time were premiered at Cambridge Jazz Festival by Sue Miller and her Charanga del Norte on 22 November 2016 and the performance was accompanied by a pre-concert talk by Miller on Latin music in New York. In terms of research environment, the CD was recorded, mixed and mastered by production scholars Dr Paul Thompson, Michael Ward and MA student Paul Brown at Leeds Beckett University in 2016/2017.
Music, Improvisation, Music Analysis, Ethnomusicology, Performance
[F]or all the academic and anthropological research work done in the past 60+ years in the Latin Music field, very few have been successful in conveying the essence of their subject matter. Sue Miller’s remarkable book does not only succeed in its comprehensive approach to introduce and educate both performing flutists and academicians to this wonderful music and its history, she captivates the reader through her passion, love and commitment to the genre…Sue Miller deserves the highest praise for a work of the highest caliber…I declare that Cuban Flute Style is brilliant and without precedent. The research work is thorough and meticulous. The historical narrative of the flute styles and its protagonists is comprehensive, consistent and most importantly, respectful of the music’s tradition and filled with palpable affection. Her improvisation transcriptions and music samples from a wide selection of recordings (most of them commercially released) are accurate and accessible… Sue Miller has created a work that celebrates and guarantees the perpetuation of Charanga and its Cuban Flute Style Tradition for many generations to come. Its historical, cultural, and pedagogical value cannot be overstated.
Everything you wanted to know about the Cuban flute style. The history and evolution, biographies of the players and technical analysis and hints. This will keep me busy for a long time.
Fantastic! Every sentence contains valuable information for someone studying Afro-Cuban flute music. Sue Miller has even included some verypractical exercises for flutists who play Cuban style. The knowledge shared inthis book is directly applicable to thestudy and performance of Cuban flute music. As a flutist who has been working on this type of music for several years, I am still re-reading and studying this book. Sue Miller has re-ignited my passion for this genre.
Amazon Review, Cuban Flute Style by Sue Miller
Funded by Leeds Beckett University.