Historia General del Pueblo Dominicano Tomo VI

Historia general del pueblo dominicano 759 89 Luis Rivera González, Antología musical de la era de Trujillo 1930-1960 , Ciudad Trujillo, 1960. 90 Luis Pérez, interview with the author, 1991. 91 Coopersmith, Music and Musicians, p. 35. 92 L. Pérez, interview. 93 Isis Duarte, Capitalismo y superpoblación en Santo Domingo , Santo Domingo, 1980, p. 191. 94 Incháustegui, interview. 95 Rafaelito Roman, interview with the author, Santiago, 1991. 96 This lammellophone is a descendant of the Central African sanza or Shona mbira . 97 Anonymous, interview with the auther, 1991. 98 Del Castillo and García Arévalo, Antología , p. 53. 99 D. Pacini Hernández, Music of Marginality, p. 146. 100 L. Pérez, interview. 101 Johnny Ventura, interview with the author, Santo Domingo, 1991. 102 Ventura, Johnny, «El merengue en el presente», in Gloria Guerrero Bonetti (ed.), Encuentro con el merengue , Santo Domingo, 1979, p. 24. 103 Ventura, interview. 104 Ventura, Encuentro , pp. 24‑25. 105 Eco, Travels, pp. 135-144. 106 Eugenia Georges, The Making of a Transnational Community: Migration, Development and Cultural Change in the Dominican Republic , New York, 1990. 107 Luis Pérez, Cheché Abreu and Aníbal Bravo, interviews with the auther, Santo Domingo, 1991. 108 Anonymous, «Fradique dice ”Baila en la calle” no identifica carnaval dominicana», Última Hora , July 4, 1985. 109 Jeffrey Kallberg, «The Rhetoric of Genre», in Nineteenth Century Music , vol. 11, number 3 (1988), p. 243. 110 Américo Paredes, «The Problemof Identity in a Changing Culture: Popular Expressions of Culture Conflict along the Rio Grande Border», in Stanley R. Ross (ed.), Views across the Border: The United States and Mexico , Albuequerque, 1978, p. 68. 111 D. Pacini, Music of Marginality. 112 Reyes Guzmán, «Blas Durán reafima su popularidad y su calidad», Hoy , August 13, 1990. 113 Balaguer, Joaquín, La isla al revés: Haiti y el destino dominicano , Santo Domingo, 1983. 114 Ysalguez, «El merengue», p. 51. 115 Juan Luis Guerra, interview with the author, Santo Domingo, 1985. 116 Luis Días, personal communication with the author. 117 E. Georges, The Making , p. 7. 118 Moya Pons, «Modernización y cambios», p. 215. 119 Daniel Piper, Urbanization, Gender, and Cultural Emergence in The Music Of Dominican Popular Religion: Palos and Salves in San Cristóbal , doctoral dissertation, Brown University, 2012. 120 Personal communication with the author. 121 Ysalguez, «El merengue tiene su origen en África», p. 51. 122 «Afro-Dominican Religious Brotherhoods», p. 23.