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The Differentiated Construction of the Colonial Discourse on Puerto Rico and Cuba The Differentiated Construction of the Colonial Discourse on Puerto Rico and Cuba
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Music and Sound of the New Possessions Music and Sound of the New Possessions
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Conclusion Conclusion
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Notes Notes
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Works Cited Works Cited
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12 Listening to Our New Possessions: Music and Imperial Writings on Puerto Rico and Cuba, 1898–1920s
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Published:February 2023
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Abstract
Hugo Viera-Vargas elaborates the notion of a “sonic colonial discourse” on both islands, developed by U.S. travelers (including journalists and government officials) who often served as colonial agents, during the first three decades of the twentieth century. The author of this chapter argues that through “a racialized form of hearing,” many of these travelers constructed Cuba and Puerto Rico as musically different. Whereas Cuba was generally perceived as closer to U.S. and European standards of musical practice and therefore more “civilized,” Puerto Rico tended to be regarded as more “primitive” in its musical traditions. According to Viera-Vargas, such perceptions helped to justify the distinct treatment of the newly acquired territories by the United States: the quick independence (though severely restricted by the Platt Amendment) of Cuba, together with the continued colonial presence in Puerto Rico to this day.
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