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| Preface to the Second Edition | |
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| The Caribbean at a Glance | |
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| Introduction: The Caribbean Crucible | |
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| The Indian Heritage | |
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| The African Heritage | |
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| Patterns of Musical Retention | |
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| The European Heritage | |
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| Creolization | |
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| Bibliography | |
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| Cuba | |
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| A Day in Havana, 1986 | |
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| The Cuban Crucible | |
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| African-Derived Musics | |
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| Rumba | |
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| A Music Festival in Santiago de Cuba | |
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| European-Derived Musics | |
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| The Son and Modern Cuban Dance Music | |
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| "Socialism with Pachanga" | |
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| The "Special Period" and Its Special Music | |
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| Coda: Revisiting Havana-and Miami, 2004 | |
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| Bibliography | |
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| Records and Films | |
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| Puerto Rico | |
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| Cuba and Puerto Rico: "The Two Wings of the Same Bird" | |
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| European-Derived Musics | |
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| The Fiesta de Santiago Apostol at Loiza Aldea | |
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| Plena and Bomba in the Dance Hall | |
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| Music and the Puerto Rican Diaspora | |
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| Puerto Rico Rocks and Raps | |
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| Bibliography | |
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| Records and Films | |
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| Salsa and Beyond | |
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| The Son Sires a Son | |
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| Ruben Blades: The Cutting Edge | |
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| Style and Structure | |
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| The Salsa Life | |
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| Salsa Lite? | |
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| Latin Rap and Reggaeton | |
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| Nueva Cancion | |
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| Bibliography | |
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| Records and Films | |
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| The Dominican Republic | |
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| The Merengue Tipico | |
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| The Merengue as National Symbol | |
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| The Modern Merengue | |
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| The Merengue Explosion | |
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| Merengue Style and Dance | |
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| Bachata: Songs of Bitterness, Songs of Love | |
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| Juan Luis Guerra | |
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| The Return of the Repressed | |
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| Bibliography | |
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| Records and Films | |
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| Haiti and the French Caribbean | |
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| Music in the Streets of Port-au-Prince | |
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| Haitian Cultural Crossroads | |
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| Creolization in Haiti: Language | |
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| Creolization in Haiti: Religion | |
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| Carnival and Rara | |
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| Misik Twoubadou | |
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| Haitian Dance Music | |
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| Politics and the Haitian Diaspora | |
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| Contemporary Haitian Popular Music | |
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| Misik Rasin, Rap, and Ragga | |
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| Music in the Lesser Antilles: Martinique, Guadeloupe, Dominica, and St. Lucia | |
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| Bibliography | |
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| Records | |
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| Jamaica | |
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| Kumina Culture, 1976 | |
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| Roots Music in the Mid-Twentieth Century | |
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| Music inna Downtown Style: Recording the Unrecorded | |
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| Roots and Culture: Downtown Triumphant | |
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| Rasta and Revolution | |
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| The End of an Era and the Dawn of a New One: From Reggae to Ragga | |
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| Tellin' It Like It Is, from "Consciousness" to "Slackness" | |
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| Female Degradation or Liberation? | |
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| Love Music-or Hate Music? | |
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| Sound Systems and Sound Clashes | |
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| Dancehall inna Foreign | |
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| Bibliography | |
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| Records | |
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| Trinidad, Calypso, and Carnival | |
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| The Development of Calypso and Carnival | |
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| Calypso in Colonialism | |
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| Modern Calypso and Carnival | |
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| Woman Rising | |
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| The Carnival Context | |
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| Steel Band | |
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| Calypso and Carnival outside Trinidad | |
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| Bibliography | |
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| Records and Films | |
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| East Indian Music and Big Sounds from the "Small Islands" | |
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| East Indians in the West Indies | |
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| Small Island Traditions | |
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| Indo-Caribbean Bibliography | |
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| Indo-Caribbean Records and Film | |
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| Small Island Bibliography | |
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| Small Island Recordings | |
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| Five Themes in the Study of Caribbean Music | |
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| Unity and Diversity in a Continent of Islands | |
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| Race and Ethnicity | |
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| Music, Sex, and Sexism | |
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| Caribbean Music International | |
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| Music and Politics | |
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| Notes | |
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| Glossary | |
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| Index | |