- Office: 220 Hill Hall
- Email: firstname.lastname@example.org
- Phone: 919-843-2093
David Garcia (Associate Professor) holds degrees in music from the California State University, Long Beach (B.M. in composition, 1995), University of California, Santa Barbara (M.A. in ethnomusicology, 1997), and The City University of New York, The Graduate Center (Ph.D. in ethnomusicology, 2003). His research focuses on the music of Latin America and the United States with an emphasis on black music of the Americas. He teaches undergraduate courses in music of Latin America, world music, and jazz, and graduate seminars in ethnomusicology, music of the African diaspora, and popular music. He is also musical director and arranger for UNC’s Charanga Carolina which specializes in Cuban danzón and salsa from New York City. He has written one book Arsenio Rodríguez and the Transnational Flows of Latin Popular Music (Temple University Press, 2006) which was awarded a Certificate of Merit in the category Best Research in Folk, Ethnic, or World Music by the Association for Recorded Sound Collections in 2007. He is currently conducting research on his second book which will focus on the intersection of African American and Afro-Latino music in the mid twentieth century. He has done fieldwork and archival research in New York City, Miami, Los Angeles, Havana, and Curaçao.
Professor García has presented his research at conferences organized by the Society for Ethnomusicology and Latin American Studies Association. He was named Visiting Scholar at the Cristobal Díaz Ayala Collection of Cuban and Latin American Popular Music by the Cuban Research Institute, Florida International University in July 2006. He has also been interviewed on radio in California, Curaçao, and North Carolina.
David García plays tres and arranges Cuban and salsa music.
Arsenio Rodríguez and the Transnational Flows of Latin Popular Music. Philadelphia: Temple University Press, 2006. Reviewed in The Journal of American Culture (2007), Vol. 30/2; Latin American Music Review (2007), Vol. 28/2; Latino Studies (2007), Vol. 5; and Popular Music (2008), Vol. 27/1.
Articles and Book Chapters
“The Afro-Cuban Soundscape of Mexico City: Authenticating Spaces of Violence and Immorality in Salón México and Víctimas del Pecado.” Screening Songs in Hispanic and Lusophone Cinema. Lisa Shaw and Rob Stone, editors. Manchester: Manchester University Press, 2012.
“Embodying Music/Othering Dance: The Mambo Body in Havana and New York City.” The Social and Popular Dance Reader. Julie M. Malnig, editor. Urbana: University of Illinois Press, 2008.
“Going Primitive to the Movements and Sounds of Mambo.” The Musical Quarterly 89/4 (Winter 2007), pp. 505-523.
“Contesting That Damned Mambo: Arsenio Rodríguez, Authenticity, and the Puerto Rican and Cuban Music Cultures of El Barrio and the Bronx, 1950s.” CENTRO Journal16/1 (Spring 2004): 154-175.
Reviews and Encyclopedic Entries
Music and Revolution: Cultural Changes in Socialist Cuba, by Robin Moore and Cuba Represent! Cuban Arts, State Power, and the Making of New Revolutionary Cultures by Sujatha Fernandes. Ethnomusicology (forthcoming).
“Mambo,” “Puente, Tito,” “Son.” Encyclopedia of Latin American History and Culture, 2nd Edition. The Gale Group. Target date of publication, spring 2008.
“Arsenio Rodriguez.” African American National Biography. Henry Louis Gates, Jr. and Evelyn Brooks Higginbotham, editors in chief. Oxford University Press. Target date of publication, spring 2008.
Jazz Consciousness: Music, Race, and Humanity, by Paul Austerlitz. Latin American Music Review 27/1 (Spring/Summer 2006): 104-107.
“Recent Studies of Cuban Music: Review-Essay.” Notes 62/1 (Sept. 2005): 95-100. Reviews of Cubano Be Cubano Bop: One Hundred Years of Jazz in Cuba, by Leonardo Acosta; Cuban Music from A to Z, by Helio Orovio; Cuba and Its Music: From the First Drums to the Mambo, by Ned Sublette; and Divine Utterances: The Performance of Afro-Cuban Santeria, by Katherine J. Hagedorn.
Music in Cuba, by Alejo Carpentier. Journal of Musicological Research 21/3 (July-Sept. 2002): 267-71.
Recording review of Said and Done, by Flaco Jiménez. Free Reeds Journal 2 (Spring 2001): 63-64.
Tango and the Political Economy of Passion, by Marta E. Savigliano. Yearbook for Traditional Music (1998): 147-48.
Siembra. Fania / Emusica 130 030. Released 1978; Re-Issued 2006.
Undergraduate: Introduction to World Musics, Introduction to Latin American and Latina/o Music, Introduction to Jazz, and World Musics in Theory and Practice
Graduate: Analyzing and Theorizing Music of the African Diaspora, Ethnomusicology and Popular Music, Proseminar in Ethnomusicology (historical survey of ethnomusicological theory in the U.S.)