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). Published in MUSICultures, Journal of the Society for American Music, The Musical Quarterly, and other academic journals, his research focuses on the music of the Americas with an emphasis on black music and Latin music of the United States. 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 of UNC’s Charanga Carolina which specializes in Cuban danzón and salsa music. His first book Arsenio Rodríguez and the Transnational Flows of Latin Popular Music (Temple University Press, 2006) 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. His current book project, The Logic of Black Music’s African Origins in the Mid-Twentieth Century is under contract with Duke University Press. He has done fieldwork and archival research throughout the United States, Cuba, Puerto Rico, and Curaçao.
Professor Garcia is a recipient of a National Endowment for the Humanities fellowship (2014–2015). He has presented his research at conferences organized by the Society for Ethnomusicology, Cuban Research Institute, Casa de las Américas, 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. He has also been interviewed on radio in California, Curaçao, and North Carolina.
- Office: 220 Hill Hall
- Email: email@example.com
- Phone: 919-451-3604
Freedom, Modernity, and the Logic of Black Dance Music’s African Origins. Durham: Duke University Press (in production)
Fernando Ortiz on Music: Selected Writing on Afro-Cuban Expressive Culture. Philadelphia: Temple University Press (under contract). David Garcia, Robin Moore, Susan Thomas, translators.
Latin@ Music in America, 1776-1900: A Critical Reader (under preparation)
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
Contesting Anthropology¹s Will to Power in the Field: William R. Bascom¹s and Richard A. Waterman¹s Fieldwork in Cuba, 1948.² MUSICultures 40/2 (2014):1-33
“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.
ŒWe Both Speak African¹: A Dialogic Study of Jazz.² Journal of the
Society for American Music 5/2 (May 2011): 195-233
“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
“Listening in Detail: Performances of Cuban Music,” by Alexandra T. Vazquez, American Studies Journal (in process)
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).
“Music and Performance at the U.S.-Mexico Border,” edited by Alejandro L. Madrid. Latino Studies 11/4 (December 2013): 610-612′
“Music in Latin American and the Caribbean”: An Encyclopedic History.>Volume 2: Performing the Caribbean Experience, edited by Malena Kuss.
Fontes artis musicae 58/1 (January-March 2011): 88-89
“Music in the Hispanic Caribbean,” by Robin Moore. Journal of the Society for American Music 5/4 (November 2011): 562-565
“Reggaeton,” edited by Raquel Z. Rivera, Wayne Marshall, and Deborah Pacini Hernandez, eds. Centro, 22/1 (Spring 2010): 332-335
“Wildman of Rhythm: The Life and Music of Benny Moré”, by John Radanovich.The World of Music 51/3 (2009): 180-181
“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.
“Music and Revolution: Cultural Change in Socialist Cuba”, by Robin Moore and Cuba Represent! Cuban Arts, State Power, and the Making of New Revolutionary Cultures by Sujatha Fernandes. Ethnomusicology 52/3 (Fall 2008): 471-473
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.
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.)