Musics of Latin America

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The most up-to-date and comprehensive Latin American music survey available.
Covering one of the most musically diverse regions in the world, Musics of Latin America emphasizes music as a means of understanding culture and society: each author balances an analysis of musical genres with discussion of the historical and cultural trends that have shaped them. Chapters cover traditional, popular, and classical repertoire, and in-text listening guides ensure that students walk away with a solid understanding of the music.

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Product Details

  • ISBN-13: 9780393929652
  • Publisher: Norton, W. W. & Company, Inc.
  • Publication date: 4/13/2012
  • Edition description: New Edition
  • Pages: 430
  • Sales rank: 672,143
  • Product dimensions: 7.40 (w) x 9.00 (h) x 0.90 (d)

Meet the Author

Robin Moore is professor of ethnomusicology at the University of Texas, Austin. He received his B.A. (Music Composition) and M.A. (Ethnomusicology) from the University of California, Santa Barbara, and a Ph.D. in Ethnomusicology from the University of Texas at Austin, with specializations in Latin America, popular music studies, and the history of ethnomusicology. His principal research interests include music and nationalism, music and race relations, popular music, and socialist art aesthetics. He is the recipient of grants from the MacArthur, Mellon, and Rockefeller foundations. He remains active as a performer of traditional Latin American music and is currently editor of the Latin American Music Review.

Walter Aaron Clark is a professor of musicology and chair of the music department at the University of California, Riverside. He received his doctorate in musicology from the University of California, Los Angeles and holds performance degrees in classical guitar from the North Carolina School of the Arts (B.M.) and the University of California, San Diego (M.A.). He teaches a wide variety of courses, including opera history, Latin American art music, folk and popular music of Latin America, twentieth-century music, and world music.

Deborah Schwartz-Kates is associate professor and chair of the musicology department at the University of Miami. Her research focuses on contemporary Argentine musics and national identity. She is the recipient of fellowships from the National Endowment for the Humanities, Pro Helvetia, and the Paul Sacher Stiftung in Basel, Switzerland.

John Koegel is professor of musicology at California State University, Fullerton. He investigates nineteenth- and twentieth-century Mexican, North American, and German American musical life, and music in California, particularly musical theater and music in the context of ethnicity and immigration.

Cristina Magaldi is associate professor at Towson University. She received her Ph.D. in musicology from the University of California, Los Angeles and also holds degrees from the University of Brasilia, Brazil (B.S.), and Reading University, England (M.Mus.). She has been a recipient of research grants from the Guggenheim Foundation and the National Endowment for the Humanities. She specializes in Latin American music, music of the Americas, popular music, and music and gender, and teaches a wide variety of courses in both historical musicology and ethnomusicology.

Daniel Party is an associate professor of music at Saint Mary's College (Notre Dame, Indiana). He received his Ph.D. in music history from the University of Pennsylvania, and a B.A. in classical guitar from the Catholic University of Chile. His research focuses on Latin American, U.S. Latino, and Spanish popular music, particularly the uses and value of mainstream pop music under authoritarian regimes.

Jonathan Ritter is assistant professor of ethnomusicology at the University of California, Riverside. He received his M.A. and Ph.D. in ethnomusicology from the University of California, Los Angeles, and his B.A. in American Indian Studies from the University of Minnesota. A specialist in indigenous and Afro-Hispanic musics of the Andean region, Ritter’s current work explores the interplay of music, memory, and political violence in the traditional and folkloric music of Ayacucho, Peru in the context of the Shining Path guerrilla insurrection. Ritter is the recipient of numerous grants and awards, including research funding from the Fulbright Institute for International Education and the Wenner-Gren Foundation.

T. M. Scruggs has taught at the Universidad Centroamericana (Managua, Nicaragua); Florida International University (Miami); the Universidad de los Andes (Mérida, Venezuela); and in 1994–2009 was the sole ethnomusicologist at the University of Iowa. His research focuses on the use of music to construct social identity and effect change, primarily in the Americas.

Susan Thomas is associate professor of musicology and Women’s Studies at the University of Georgia. She received her Ph.D. in musicology from Brandeis University and an M.A. in women’s studies from the same institution. Additionally, she earned masters degrees from Tufts University and the New England Conservatory. Her research interests are Cuban and Latin American Music, early twentieth-century musical theater and film, gendered performance practices, and transnationalism and diaspora.

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Table of Contents

Listening Guides xii

In Depth xvi

Preface xvii

1 Introduction robin moore 2

Definitions and Themes 6

Goals and Definitions 16

Key Terms 22

Further Reading 22

2 Music, Conquest, and Colonialism Susan Thomas 24

Introduction 25

The Colonization of Latin America: Historical Overview 27

Indigenous Musical Culture at the Time of the Conquest 31

Music of the Conquest and Early Colonial Period 35

Music and Colonialism in Brazil 50

Mission Music 57

Opera 61

Popular Dance Music 65

The Contradanza 69

The End of the Colonial Era 70

Conclusion 72

Key Terms 73

Further Reading 74

Further Listening 74

3 Mexico John Koegel 76

Introduction 77

Traditional and Popular Music 81

Classical Music 111

Conclusion 121

Key Terms 122

Further Reading 122

Further Listening 123

Further Viewing 123

4 Central America, Colombia, and Venezuela T.M. Scruggs 124

Central America 125

Traditional Music 127

Popular Music 134

European and European-American Classical Music 139

Colombia 141

Traditional Music 143

Popular Music 146

European and European-American Classical Music 153

The Llanos 154

Miisica Llanera 154

Venezuela 157

Traditional and Popular Music 161

European and European-American Classical Music 170

Conclusion 173

Key Terms 173

Further Reading 173

Further Viewing 174

5 Cuba and the Hispanic Caribbean Robin Moore 176

Introduction 177

Traditional and Popular Music 180

Classical Music and Latin Jazz 214

Conclusion 221

Key Terms 221

Further Reading 222

Further Listening 222

Further Viewing 222

Brazil Cristina Magaldi 224

Introduction 225

Traditional and Popular Music 230

Classical Music 266

Conclusion 272

Key Terms 273

Further Reading 273

Further Listening 273

Further Viewing 273

7 Argentina and the Rioplatense Region Deborah Schwartz-Kates 274

Introduction 275

Traditional Music 279

Popular Music 295

Classical Music 312

Conclusion 321

Key Terms 322

Further Reading 322

Further Viewing 323

8 Peru and the Andes Jonathan Ritter 324

Introduction 325

Traditional and Popular Music 329

Classical Music 362

Conclusion 368

Key Terms 369

Further Reading 369

Further Listening 370

Further Viewing 370

9 Latin American Impact on Contemporary Classical Music Walter Aaron Clark 371

Historical Background 372

Latin American Impact Today 374

Conclusion 395

Key Terms 396

Further Reading 396

Further Listening 396

Further Viewing 396

10 Twenty-First Century Latin American and Latino Popular Music Daniel Party 397

Introduction 397

Contemporary Latin American Popular Music 399

RecentTrends in U.S. Latino Popular Music 420

Conclusion 431

Key Terms 432

Further Reading 432

FurtherViewing 433

Appendix: The Elements of Music Walter Aaron Clark 434

Introduction 434

Sound as Music 434

Rhythm 439

Melody 442

Scales 443

Harmony 445

Texture 447

Form 448

Aesthetics and Culture 449

Key Terms 453

Glossary 1

Additional Resources 15

Endnotes 19

Music and Lyrics Credits 21

Photo Credits 23

Index 25

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