33.

Cuban musicologist Maria Teresa Linares argues, somewhat inconclusively,

that the punto
in general derives from the fandango (El punto cubano [Santiago de Cuba:
Editorial Oriente,
1999], 26-36). A tonada espanola may be heard in part 1 of the film Routes of
Rlythm (prod.
Eugene Rosow and Howard Dratch, 1989). I am gratefuil to Yavet Boyadjiev for
calling this
tonada to my attention.
34. One such piece can be found on the compact disc Al Fandango, by the
Hermanos
Angulo band, Alfa Records CDAR-1008/19 (1999).
35. Luis Felipe Ramon y Rivera, La musica folklkrica de Venezuela (Caracas:
Monte Avila
Editores, 1969), 54, 59-60, 64-65.
36. Pieces such as this could be notated in either 6/8 or 3/4. The voicings of the
final chord
by the laud (or a similar instrument) may vary. A zapateo with these features
can be heard on La
musica delpueblo de Cuba, EGREM LD 3441 (n.d.). Argeliers Leon presents a
similar excerpt as
typical of the Cuban puntoguajira, in Del canto y el tiempo (Havana: Editorial
Letras Cubanas,
1984), 112. The phrases recur in these and other interrelated Cuban campesino
genres.
37. As in the previous example, the chord voicings should be taken as
approximate and variable,
and either a 6/8 or 3/4 meter could be indicated. For a full transcription of a
punto libre
decima, see Peter Manuel, with Kenneth Bilby and Michael Largey, Caribbean
Currents:

Caribbean Musicfrom Rumba to Reggae (Philadelphia: Temple University Press,

1996), 31.
For example, Leon, Del canto y el tiempo, 109; and Marta Esquenazi, "Algunos
criterios
acerca de la forma y estructura en el canto del campesino cubano," in Ensayos
de mu'sica latinoamericana:
Seleccion del boletin de musica de la Casa de las Americas, ed. Clara
Hernandez
(Havana: Casa de las Americas, 1982), 255.
39. Ramon y Rivera, La musicafolklorica de Venezuela, 54.
Maria-Ester Grebe, "Modality in Spanish Renaissance Vihuela Music and Archaic
Chilean
Folksongs: A Comparative Study," Ethnomusicology 11 (1967): 326-42.
42. Berlanga Femrnandez, Bailes de candil, 184.
Arsenio Rodriguez: A Black Cuban Musician in the Dance Music Milieus of
Havana, New York City, and Los Angeles" [Ph.D. diss., Graduate Center of the
City University of New York, forthcoming]).
46. Familiar sones ending on the subdominant include the Septeto Nacional's
recordings of
"Bururu Barara," "Suavecito," and "Echale salsita" on SonerosMayores, EGREM
PRD 067 (n.d.).
50. Robert Bailey, "Das Lied von der Erde: Tonal Language and Formal Design"
(paper presented
at the Forty-fourth Annual Meeting of the American Musicological Society,
October
1978); Robert Bailey, ed., Richard Wagner: Prelude and Tranffiguration from
"Tristan und
Isolde," Norton Critical Score (New York: Norton, 1985), 113-46; William
Kinderman and
Harald Krebs, eds., The Second Practice of Nineteenth-Century Tonality (Lincoln
and London:

University of Nebraska Press, 1996); and Christopher Lewis, "Mirrors and

Metaphors: Reflections
on Schoenberg and Nineteenth-Century Tonality," 19th-Century Music 11
(1987): 26-42.
I have deliberately avoided the term double tonic in this article in order to
avoid confusion with
this sort of harmonic practice.
51. Van der Merwe discusses aspects of African modal influence in the
Americas (Origins of
the Popular Style, 131-45).