"I suggest, based on a brief longitudinal observation of some twenty-five years, that both African- and European-derived musical styles and genres, in their forms truest to Old-World heritage, are both on the wane; and a fusion, a more populist and urban 'creole' music, is on the rise." (author)
"Traces the history of Haitian classical or "learned" music from the eighteenth century to the middle of the twentieth century by examining the state's role as a patron to the arts, the development of the educational system, the call for a national Haitian music in the early twentieth century, and individual composer's biographies." (author)
Examines the genesis of the French Antillean concept of Creolite that emerged in the 1980s and shows "how, through zouk, the popular music that emerged from Guadeloupe and Martinique in the early 1980s, Creolite is being defined, (re)presented, and negotiated." (author)
"As I examined the Pearse Archive, a paper-clipped set of ten transcribed songs, called "trumpet songs," came to my attention. I recalled hearing these songs earlier as rousing choruses in songs of the Trinidad Spiritual Baptists. I felt that some were North American Negro spirituals, but could not, at that point, explain their explain their use in that place and time.... My thesis is that the songs were introduced to Trinidad during the early nineteenth century by black North American soldiers who were liberated from slavery after their service in the British navy." (author)
"In London and in the North American cities where migrants from the Caribbean have instituted Carnival, the majority of people are ignorant about the nature of calypso: it is stereotyped in their minds as music for tourists. Accordingly, I would like to give a brief description of the true nature of calypso and of the steelband as an orchestra, so as to set the records straight and undo some the Eurocentric damage to Caribbean art forms." (author)
