LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA最新文献

{"title":"Candid Carnival: Song Videos and Social Media Intimacies in the Peruvian Andes","authors":"Violet Cavicchi Muñoz","doi":"10.7560/lamr44102","DOIUrl":"https://doi.org/10.7560/lamr44102","url":null,"abstract":"","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43334632","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Reimagining Latin Music in New York City: The Impact of Rafael Petitón Guzmán","authors":"John Bimbiras, P. Austerlitz","doi":"10.7560/lamr44101","DOIUrl":"https://doi.org/10.7560/lamr44101","url":null,"abstract":"abstract:This article presents the first study of the life and works of a little-known but brilliant Dominican musician who worked in New York City in the mid-twentieth century. Pulling from archival materials held in the repository of the CUNY Dominican Studies Archives, the article offers an alternative to the conventional canon of Latin music in New York, which focuses on Cuban genres played primarily by Puerto Ricans, demonstrating the centrality of Dominican and other influences to the richly diverse panorama of latinidad in the United States.resumen:Este artículo es el primer estudio de la vida y obra de un músico dominicano poco conocido pero brillante que trabajó en la ciudad de Nueva York a mediados del siglo XX. Extrayendo materiales del Archivo de Estudios Dominicanos de CUNY, el artículo ofrece una alternativa al canon convencional de la música latina en Nueva York, que se enfoca en los géneros cubanos interpretados principalmente por puertorriqueños, demostrando la centralidad de las influencias dominicanas y de otro tipo dentro en el panorama de la latinidad en los Estados Unidos.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"44 1","pages":"1 - 30"},"PeriodicalIF":0.1,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48675877","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ensamblando las notas de un mercado sonoro: Las primeras grabaciones comerciales en la Ciudad de México (1892–1903)","authors":"Jaddiel Díaz Frene","doi":"10.7560/lamr44103","DOIUrl":"https://doi.org/10.7560/lamr44103","url":null,"abstract":"","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45999803","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Apogee and Decline of Chilean Cathedral Music in the Nineteenth Century: Revisiting the Historiographical Canon","authors":"Valeska Cabrera, Mario Poblete","doi":"10.7560/lamr43203","DOIUrl":"https://doi.org/10.7560/lamr43203","url":null,"abstract":"abstract:Samuel Claro Valdés established the idea of the nineteenth-century apogee and decline of cathedral music in Chile. From his point of view, performances by religious musicians represented the decline of music staged at the Santiago Metropolitan Cathedral, whereas secular masters represented a period of apogee there. This article draws on evidence-based research to show that his historical narrative is not built on hard facts related to musical performance. The basis for our critique is an in-depth study of the historical context and professional life of choirmaster Manuel Arrieta—a figure allegedly responsible, in Claro Valdés's interpretations, for the cathedral's musical decline.resumen:Samuel Claro Valdés estableció la idea de un supuesto período de apogeo y decadencia en la música catedralicia en Chile durante el siglo XIX. Para él, músicos que también eran religiosos consagrados simbolizaron la decadencia de la música interpretada en la Catedral Metropolitana de Santiago, mientras que maestros seculares representaron un período de apogeo. En base a nueva evidencia documental, este artículo demuestra que su narrativa histórica no fue fundada sobre evidencia conclusiva. Nuestra crítica se basa en el estudio detallado de la vida profesional de Manuel Arrieta, señalado como el responsable del declive de la actividad musical en la catedral según la visión de Samuel Claro.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"43 1","pages":"202 - 225"},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43211335","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Music Entrepreneurs in Contemporary Havana: The Children of Transition","authors":"Freddy Monasterio","doi":"10.7560/lamr43201","DOIUrl":"https://doi.org/10.7560/lamr43201","url":null,"abstract":"abstract:Cuba's cultural policy has not sufficiently adjusted to the new cultural agents and conditions the island faces in the twenty-first century, creating significant tensions in the arts sector. This article describes the emergence of a group of music entrepreneurs and start-ups in the context of Cuba's current transition to a new socioeconomic model and analyzes some of the challenges they face. I focus on the damage caused by an outdated and dysfunctional cultural policy framework. I examine how this issue is a cause and consequence of poor and ambiguous regulation in the arts sector, as well as how this troubling combination interferes with the prosperity of domestic creative industries. Two case studies illustrate the experiences of informal music start-ups: the magazine Magazine AM:PM and the communications agency Bonus Track. Music entrepreneurs and start-ups are part of the solution to the ongoing crisis in Cuba's cultural sector. The task of adapting, restructuring, and redefining their role should be the priority of a more inclusive and prosperous cultural policy.resumen:La política cultural de Cuba no se ha ajustado lo suficiente a los nuevos agentes culturales y condiciones que enfrenta la isla en el siglo XXI, lo cual ha generado grandes tensiones en el sector de las artes. Este artículo describe el surgimiento de un grupo de emprendimientos musicales en el contexto de la actual transición de Cuba hacia un nuevo modelo socioeconómico, y analiza algunos de los desafíos que enfrentan estos emprendimientos. Me centro en el daño causado por un marco obsoleto y disfuncional de política cultural. Examino cómo este problema es tanto causa como consecuencia de una regulación deficiente y ambigua en el sector de las artes, y cómo esta combinación dañina interfiere con la prosperidad de las industrias creativas cubanas. Me apoyo en dos casos de estudio, la revista Magazine AM:PM y la agencia de publicidad Bonus Track, para ilustrar la experiencia común de muchos de los emprendimientos musicales informales en La Habana. En mi opinión, estos nuevos emprendedores y emprendimientos son parte de la solución a la crisis actual del sector cultural cubano. La tarea de adaptar, reestructurar y redefinir el papel que juegan en el sector de las artes debe ser prioridad para un enfoque de política cultural más participativo y próspero.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"43 1","pages":"127 - 155"},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42726891","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Tópicos musicales de escena y salón en el templo: Arrepentimiento, loor y exaltación en las canciones religiosas de Pedro Ximénez (Sucre, Bolivia, 1833–1856)","authors":"Zoila Vega Salvatierra","doi":"10.7560/lamr43202","DOIUrl":"https://doi.org/10.7560/lamr43202","url":null,"abstract":"resumen:Se conoce poco de las prácticas musicales litúrgicas de las catedrales sudamericanas después de consolidada la independencia. En algunas ciudades, se llevó a cabo una singular adaptación de repertorios extra religiosos especialmente para actividades paralitúrgicas que permitían el uso de géneros musicales provenientes de espacios profanos y cuyos textos se escribían en lengua vernácula. Este artículo emplea la identificación de tópicos musicales en canciones escritas en lengua romance compuestas por Pedro Ximénez (1784–1856) presumiblemente para la catedral de Sucre, Bolivia, entre 1833 y 1856 para demostrar cómo se empleaban recursos sonoros provenientes del teatro y del salón en canciones de alabanza y exaltación por un lado; y lamentación y arrepentimiento por el otro, para el uso religioso.abstract:The liturgical music practices of South American cathedrals after the consolidation of independence remain unknown. In some cities, extrareligious repertoires were adapted, especially for paraliturgical activities that allowed the use of musical genres from secular spaces and whose texts were written in the vernacular. This article uses the identification of musical topics in songs written in the Romance language composed by Pedro Ximénez (1784–1856), presumably for the cathedral of Sucre, Bolivia, between 1833 and 1856, to demonstrate how sound resources from the theater and living room were used in songs of praise and exaltation on the one hand and lamentation and repentance on the other.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"43 1","pages":"156 - 201"},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43534975","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Álbumes musicales de mujeres, marcas de uso y escena cultural","authors":"Laura Jordán González, Fernanda Vera Malhue","doi":"10.7560/lamr43102","DOIUrl":"https://doi.org/10.7560/lamr43102","url":null,"abstract":"","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48652897","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Actitud decolonial, linajes y saberes otros en la música y las letras de Los Jaivas","authors":"Israel Holas Allimant, Sergio Holas","doi":"10.7560/lamr43101","DOIUrl":"https://doi.org/10.7560/lamr43101","url":null,"abstract":"RESUMEN:Este artículo hace una lectura decolonial de la música rock de Los Jaivas de fines de los años sesenta y comienzos de los setentas. Lo hace conectando el trabajo de Rodolfo Kusch sobre la relación entre suelo e identidad (geocultura), la noción de aestesis decolonial propuesta por Walter Mignolo y otros, y la noción de actitud decolonial propuesta por Nelson Maldonado- Torres. Pensamos que al revisibilizar melodías, ritmos, historias, memo-rias y experiencias de raíz indígena en el género rock, Los Jaivas hicieron visible otro linaje u otra línea familiar, otra parte del chileno, ahora también de raíz andina y no exclusivamente de raíz europea, como ha sido retratado por las instituciones de la modernidad. La música producida por Los Jaivas enactúa una actitud decolonial al conservar valores indígenas como parte integral del modo de vivir de los linajes de los chilenos y chilenas.ABSTRACT:This article proposes a decolonial reading of the rock music produced by Los Jaivas in Chile in the late 1960s and early 1970s by putting it in conversation with Rodolfo Kusch’s work on identity, Walter Mignolo’s insights on decolonial aesthesis, and Nelson Maldonado- Torres’s notion of decolonial attitude. By highlighting Indigenous melodies, rhythms, stories, memories, and experiences in the rock genre, Los Jaivas made visible an Andean and southern lineage of the Chilean people—one with Andean roots and not exclusively European ones, as imagined by Chile’s modern institutions. The music produced by Los Jaivas emphasizes a decolonial attitude toward preserving Indigenous values as an integral part of the way of life of for generations of Chileans.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"43 1","pages":"1 - 26"},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42879656","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"La red musical atlántica: Circulación de instrumentos musicales entre España y los virreinatos de Nueva España y Nueva Granada (1778–1804)","authors":"Oriol Brugarolas, L. Bertran","doi":"10.7560/lamr43103","DOIUrl":"https://doi.org/10.7560/lamr43103","url":null,"abstract":"RESUMEN:La presencia de instrumentos musicales en los cargamentos de los navíos españoles hacia América es una constante en el último cuarto del siglo XVIII y da cuenta de los mecanismos concretos con los que se satisfacía una demanda creciente de instrumentos vinculados a los repertorios de moda y a las nuevas plantillas instrumentales. Este artículo aporta nueva información y evidencias sobre la circulación de instrumentos musicales, en particular de pianos, entre España y los virreinatos de Nueva España y Nueva Granada, con lo que permite redefinir el mapa de la llegada de instrumentos musicales en dichos territorios.ABSTRACT:Musical instruments are consistently present in the cargo of Spanish vessels sailing to Latin America in the last quarter of the eighteenth century. Their presence sheds light on the specific mechanisms that met a growing demand for instruments linked to fashionable repertoires and new sets of instruments. This article provides new information and evidence on the circulation of musical instruments, particularly the piano, between Spain and the vice-royalties of New Spain and New Granada, thereby redefining the map of the arrival of musical instruments in those territories.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"43 1","pages":"107 - 67"},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46840041","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Cariocas de New Orleans: Brazilian Interpretations of North American Jazz","authors":"Rafael do Nascimento Cesar","doi":"10.7560/lamr42204","DOIUrl":"https://doi.org/10.7560/lamr42204","url":null,"abstract":"","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41627863","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}