LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA最新文献_第5页

In Memoriam: Chalena Vásquez

IF 0.1 3区艺术学

LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA Pub Date : 2017-12-08 DOI: 10.7560/LAMR38201

J. Mendívil

引用次数: 0

The Musical Walk to Qoyllor Rit'i: The Senses and the Concept of Forgiveness in Cuzco, Peru 走向Qoyllor Rit’i的音乐之旅：秘鲁库斯科的感觉和宽恕概念

IF 0.1 3区艺术学

LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA Pub Date : 2017-12-08 DOI: 10.7560/LAMR38202

Zoila S. Mendoza

{"title":"The Musical Walk to Qoyllor Rit'i: The Senses and the Concept of Forgiveness in Cuzco, Peru","authors":"Zoila S. Mendoza","doi":"10.7560/LAMR38202","DOIUrl":"https://doi.org/10.7560/LAMR38202","url":null,"abstract":"abstract:This article explores aspects of the experience of Quechua-speaking dance troupe members in Cuzco, Peru, as they walk to the highest sanctuary in the world to the incessant music of flutes and drums. It argues for the need to understand the sensory experience of the pilgrims and hypothesizes that there is a predominant form of knowledge and memory in the Andes that privileges the unity of sound, vision, and movement. The central argument is developed through the Quechua concept-feeling of pampachay, or forgiveness, which is learned and remembered during the pilgrimage.resumen:Este artículo explora aspectos de la experiencia de los miembros de grupos de danza de hablantes de quechua en Cuzco, Perú, cuando caminan hacia el santuario más alto del mundo, acompañados por la música incesante de flautas y tambores. Es necesario entender la experiencia sensorial de los peregrinos, y este artículo presenta la hipótesis que existe una forma de conocimiento y memoria que predomina en los Andes, la cual privilegia la unidad de sonido, visión y movimiento. El argumento central se desarrolla usando el ejemplo del concepto-sentimiento quechua conocido como pampachay, o \"perdón,\" que se aprende y se recuerda durante la peregrinación.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"38 1","pages":"128 - 149"},"PeriodicalIF":0.1,"publicationDate":"2017-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48165432","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}

引用次数: 5

From the Plaza to the Parque: Transformations of Urban Public Spaces, Disciplining, and Cultures of Listening and Sound in Colombian Cities (1886–1930) 从广场到公园:哥伦比亚城市公共空间、纪律和听觉文化的转变(1886-1930)

IF 0.1 3区艺术学

LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA Pub Date : 2017-12-08 DOI: 10.7560/LAMR38203

J. Velasquez

{"title":"From the Plaza to the Parque: Transformations of Urban Public Spaces, Disciplining, and Cultures of Listening and Sound in Colombian Cities (1886–1930)","authors":"J. Velasquez","doi":"10.7560/LAMR38203","DOIUrl":"https://doi.org/10.7560/LAMR38203","url":null,"abstract":"abstract:This article analyzes the relationships among music, listening, and public spaces in Colombian cities between 1886 and 1930, a period of intense urban modernization and reconfiguration of the structure and function of public spaces. A significant part of this process was the transformation of colonial plazas (squares) into parques (parks). This coincided with the introduction of new instruments and musical repertoires to symphonic bands, thus promoting new listening practices during retretas, or public outdoor concerts. Both processes produced new understandings of listening and sound in urban public spaces, transforming music and sound into means for disciplining and civilizing the citizens.resumen:Este artículo analiza la relación existente entre música, escucha, y espacio público en las ciudades colombianas entre 1886 y 1930, un período de intensa modernización urbana en que se reconfiguró la estructura y función del espacio público. La transformación de las plazas en parques fue una parte significativa de dicho proceso, que coincidió con la llegada de nuevos instrumentos para las bandas sinfónicas y la introducción de nuevos repertorios. Ello promovió la introducción de nuevas prácticas de escucha durante las retretas, produciendo nuevas interpretaciones del papel del sonido y la escucha en el espacio público urbano que transformaron la música y el sonido en medios para la disciplinar y civilizar los ciudadanos.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"38 1","pages":"150 - 184"},"PeriodicalIF":0.1,"publicationDate":"2017-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48737873","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}

引用次数: 2

The Sounds of Latinidad: Immigrants Making Music and Creating Culture in a Southern City by Samuel K. Byrd (review) 《拉丁裔的声音：移民在南方城市创作音乐和创造文化》，塞缪尔·K·伯德著（评论）

IF 0.1 3区艺术学

LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA Pub Date : 2017-05-23 DOI: 10.5860/choice.193035

J. Ramirez

{"title":"The Sounds of Latinidad: Immigrants Making Music and Creating Culture in a Southern City by Samuel K. Byrd (review)","authors":"J. Ramirez","doi":"10.5860/choice.193035","DOIUrl":"https://doi.org/10.5860/choice.193035","url":null,"abstract":"and suffering. But on their way to the sanctuary, they worship the sunrise and sunset, and perform rituals at sacred locations called apachetas. When they arrive at their destination, the ukukus and dancers enact the yawar mayu (river of blood) ritual. In brief, this cultural syncretic practice combines Catholic worship from the colonial period with a pre-Columbian native cult celebrating water as the source of life and death. After observing the pilgrimage three times, Mendoza concludes that there is a strong unity of sound, sight, and motion in the Andean world, opening up new avenues for social science researchers. At the same time, she subtly urges us to study the pilgrimage before it drastically changes. It is a race against the modernization of Andean society and the effects of global warming, as each year the glaciers are smaller. The documentary is an appropriate length for classroom use, short enough to also allow for discussion in the same class. It addresses issues of Andean music, dance, and religiosity. It also addresses topics such as cultural change, capitalist modernization, global warming, and cognitive processes, and so is a well-conceived introduction to the Andean world. Moreover, the documentary could be used at undergraduate and graduate levels in departments of anthropology, cultural studies, and Spanish, as well as in centers for Latin American studies.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"38 1","pages":"121 - 123"},"PeriodicalIF":0.1,"publicationDate":"2017-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45530796","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}

引用次数: 0

México de mis inventos: Salon Music, Lyric Theater, and Nostalgia in Cine de añoranza porfiriana 我的发明之墨西哥：沙龙音乐、抒情剧院和波尔菲里亚怀旧电影中的怀旧

IF 0.1 3区艺术学

LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA Pub Date : 2017-05-10 DOI: 10.7560/LAMR38101

Jacqueline A. Avila

{"title":"México de mis inventos: Salon Music, Lyric Theater, and Nostalgia in Cine de añoranza porfiriana","authors":"Jacqueline A. Avila","doi":"10.7560/LAMR38101","DOIUrl":"https://doi.org/10.7560/LAMR38101","url":null,"abstract":"abstract:Produced almost exclusively at the beginning of the 1940s, cine de añoranza porfiriana (films of Porfirian longing) is a romantic comedy genre that focuses on the pairing of two members of the upper class in Mexico at the end of the nineteenth century. The genre—set during Mexico's thirty-five-year dictatorship known as the Porfiriato (1876–1911)—focuses on the social-climbing aristocracy and their musical practices, featuring excerpts from zarzuelas, música de salón, and teatro de revistas. Juan Bustillo Oro's En tiempos de don Porfirio (1939) and México de mis recuerdos (1944) are two noteworthy films that intertwine musical performances in the narratives and expose the social contradictions of Porfirian culture, particularly concerning women's roles. This article examines the intricate reimagining of Porfirian musical culture and society in Mexico's cine de añoranza porfiriana, which functioned as a nostalgic escape for the 1940s postrevolutionary cultural elite.resumen:Producido casi exclusivamente a principios de los años cuarenta, el cine de añoranza porfiriana es un tipo de comedia romántica centrado en la interacción de dos de alta sociedad en el México de finales del siglo XIX. El género—situado durante la dictadura de treinta y cinco años en México, denominada como el Porfiriato (1876–1911)—está enfocado en la aristocracia y sus prácticas musicales, representadas con fragmentos de zarzuelas, música de salón y teatro de revista. En tiempos de don Porfirio (1939) y México de mis recuerdos (1944), dirigidas por Juan Bustillo Oro, son dos películas notables que entrelazan musicales en las narraciones fílmicas y que exponen las contradicciones sociales de la cultura porfiriana, en particular de los roles de las mujeres. El género funcionó como un escape nostálgico para la élite cultural posrevolucionaria de 1940, y este artículo examina la compleja reinvención de la cultura musical y la sociedad porfiriana representada en el cine de añoranza porfiriana en México.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"38 1","pages":"1 - 27"},"PeriodicalIF":0.1,"publicationDate":"2017-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42607542","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}

引用次数: 0

Cubanidad "In Between": The Transnational Cuban Alternative Music Scene 古巴“在两者之间”:跨国古巴另类音乐场景

IF 0.1 3区艺术学

LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA Pub Date : 2017-05-10 DOI: 10.7560/LAMR38102

Eva Silot Bravo

{"title":"Cubanidad \"In Between\": The Transnational Cuban Alternative Music Scene","authors":"Eva Silot Bravo","doi":"10.7560/LAMR38102","DOIUrl":"https://doi.org/10.7560/LAMR38102","url":null,"abstract":"This article examines the music production and discourse of the transnational Cuban alternative music scene (TCAMS), a prolific diasporic network of Cuban singers, songwriters, and academically trained musicians. Through ethnographic research I map this transnational music scene throughout local, nonmainstream, and online music circuits. The TCAMS employs fusion as its main musical language, showcasing a strong musical and educational background. These musicians' transnational identities and discourses are in constant negotiation and assume apparent depoliticized and dystopian discourses in relation to dominant narratives of Cubanness. TCAMS is an \"in between\" transnational space of music creation, a shifting aesthetic and generational scene in the alternative context of Cuban music. It deconstructs the territoriality of Cuban music production and projects a postnational Cuban soundscape at the turn of the century.resumen:Este artículo examina prácticas de producción musical y de discurso de la escena transnacional cubana de música alternativa (ETCMA), una prolífera red de colaboración entre cantantes, cantautores y músicos entrenados académicamente en Cuba. A través de un trabajo etnográfico, el texto mapea a esta escena en circuitos de música locales, no comerciales y redes sociales. La fusión es el principal lenguaje musical de ETCMA, exhibe un sólido background educacional y musical. Las identidades y discursos transnacionales de estos músicos están en constante negociación y asumen discursos aparentemente despolitizados y distópicos con relación a narrativas dominantes de cubanidad. ETCMA es un espacio \"in between\" de creación musical transnacional, una escena de cambios estéticos y generacionales en el contexto de la música cubana alternativa. Esta escena de música deconstruye la territorialidad de la producción musical cubana y proyecta un paisaje sonoro cubano posnacional de cambio de siglo.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"38 1","pages":"28 - 56"},"PeriodicalIF":0.1,"publicationDate":"2017-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48481781","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}

引用次数: 1

A son de clave: La dimensión afrodiaspórica de la puertorriqueñidad en la música popular, 1929–1940 A是关键：1929-1940年波多黎各在流行音乐中的非裔流亡层面

IF 0.1 3区艺术学

LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA Pub Date : 2017-05-10 DOI: 10.7560/LAMR38103

Hugo René Viera-Vargas

{"title":"A son de clave: La dimensión afrodiaspórica de la puertorriqueñidad en la música popular, 1929–1940","authors":"Hugo René Viera-Vargas","doi":"10.7560/LAMR38103","DOIUrl":"https://doi.org/10.7560/LAMR38103","url":null,"abstract":"resumen:En este ensayo se imbrican varios argumentos relacionados con la música popular y la construcción de la identidad puertorriqueña en la tercera década del siglo XX. El artículo, que abre con una discusión somera sobre la relación entre música, identidad y el Caribe como región musical, utiliza la colección de música de John Alden Mason (1914–1915) expone el desarrollo de las interacciones sociomusicales entre Puerto Rico y Cuba antes del surgimiento de la industria musical en ambas islas. Además, demuestra cómo a través de la música grabada en Puerto Rico y Nueva York entre 1910 y 1941 se evidencia una paulatina afrocubanización de repertorio musical puertorriqueño. En fin, el artículo propone que la apropiación y adaptación de la música afrocubana durante las primeras décadas del siglo XX no fue una simple imitación pasiva si no una expresión a través de la música popular de la dimensión afrodiaspórica de la identidad de los sectores populares en Puerto Rico.abstract:The article, which opens with a brief discussion of the relationships among music, identity, and the Caribbean as a musical region, uses the music collection of John Alden Mason (1914–1915) to illustrate the development of the sociomusical interactions between Puerto Rico and Cuba before the emergence of the music industry on both islands. In addition, it shows—through the examination of the music recorded in Puerto Rico and New York between 1910 and 1941—the gradual Afro-Cubanization of the Puerto Rican musical repertoire. Finally, the article proposes that the appropriation and adaptation of Afro-Cuban music during the first decades of the twentieth century was not simply a passive imitation but an expression through popular music of the Afro-diasporic dimension of the identity of the popular sectors in Puerto Rico.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"38 1","pages":"57 - 82"},"PeriodicalIF":0.1,"publicationDate":"2017-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46388452","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}

引用次数: 0

Southern Streams: Some Thoughts about Musicology and Popular Music Studies in Latin America 南方的溪流:关于拉丁美洲音乐学和流行音乐研究的一些思考

IF 0.1 3区艺术学

LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA Pub Date : 2017-05-10 DOI: 10.7560/LAMR38104

M. Ulhôa

{"title":"Southern Streams: Some Thoughts about Musicology and Popular Music Studies in Latin America","authors":"M. Ulhôa","doi":"10.7560/LAMR38104","DOIUrl":"https://doi.org/10.7560/LAMR38104","url":null,"abstract":"abstract:This article discusses some aspects of popular music studies in Latin America since the 1930s. It begins with a synthesis of the First Inter-American Conference on Musicology (Washington, DC, 1963), published in volume 1 of Anuario (1965), the predecessor to Latin American Music Review. It follows with commentaries on the concept of popular and an assessment of the contribution of pioneer musicologists Mário de Andrade (1893–1945) and Carlos Vega (1898–1966). Finally, proposals for future directions of Latin American music studies in musicology and ethnomusicology are presented. Sources were taken from the 2010 conferences of the following associations: the Argentinean Association of Musicology, the Brazilian Association of Research and Post-Graduation in Music, and the Latin American branch of the International Association for the Study of Popular Music.resumen:Este é um ensaio sobre algumas tendências dos estudos da música popular na América Latina a partir da década de 1930. Inicialmente, é feita uma síntese da First Inter-American Conference on Musicology (Washington, DC, 1963), publicada em 1965 no vol. 1 do Anuario, o antecessor da Latin American Music Review / Revista de Música Latinoamericana. Em seguida, são realizados alguns comentários sobre pontos frequentemente debatidos pelos pesquisadores atuais, em especial o conceito de popular, com espaço para uma avaliação da contribuição dos pioneiros, Mário de Andrade (1893–1945) e Carlos Vega (1898–1966), complementados por propostas para direções teóricas futuras dos estudos de música popular na América Latina em etnomusicologia e musicologia. As fontes para discussão foram congressos de 2010 da Associação Argentina de Musicologia, da Associação Brasileira de Pesquisa e Pós-Graduação em Música, bem como da seção latino-americana da International Association for the Studies of Popular Music.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"38 1","pages":"105 - 83"},"PeriodicalIF":0.1,"publicationDate":"2017-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42721678","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}

引用次数: 0

Musical Life in Guyana: History and Politics of Controlling Creativity by Vibert C. Cambridge (review) 《圭亚那的音乐生活:控制创造力的历史与政治》作者:维伯特·c·剑桥

IF 0.1 3区艺术学

LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA Pub Date : 2016-11-19 DOI: 10.5860/choice.194252

K. Bilby

引用次数: 0

“Somos la mezcla perfecta, la combinación más pura, cubanos, la más grande creación”: Grooves, Pleasures, and Politics in Today’s Cuba “我们是完美的组合，最纯粹的组合，古巴人，最伟大的创造”:凹槽，乐趣，和政治在今天的古巴

IF 0.1 3区艺术学

LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA Pub Date : 2016-11-19 DOI: 10.7560/LAMR37202

Kjetil Klette Boehler

{"title":"“Somos la mezcla perfecta, la combinación más pura, cubanos, la más grande creación”: Grooves, Pleasures, and Politics in Today’s Cuba","authors":"Kjetil Klette Boehler","doi":"10.7560/LAMR37202","DOIUrl":"https://doi.org/10.7560/LAMR37202","url":null,"abstract":"abstract:This article explores the politics of the aesthetic experience in the song “Somos cubanos,” by Los Van Van, in light of aesthetic and political values in today’s Cuba. Through discourse analysis inspired by Anderson (1991) and Rancière’s (2004) perspectives in The Politics of Aesthetics, I argue that revolutionary ideology ascribes political values to Cuban arts and music related to increased nationalism within what I call an “aesthetico-political regime.” Drawing on ethnographic data, I show how aesthetics and politics converge during carnival and contribute to a common Cuban identity that takes on patriotic overtones. Examining the aesthetic experience of “Somos cubanos,” I show how the politics of nationalism is expressed through the interplay of grooves, melodies, and lyrics.resumen:Este artículo explora la política de la experiencia estética de “Somos cubanos” a la luz de la relación entre estética y política en las prácticas culturales y el discurso político en la Cuba de hoy. A través del análisis del discurso inspirado por Anderson (1991) y Rancière (2004), argumento que la ideología revolucionaria atribuye valores políticos a la música y el arte cubano relacionado con el aumento del nacionalismo en lo que yo llamo un “régimen estético-político” en la Cuba actual. A través del análisis etnográfico, muestro cómo la estética y la política convergen durante el carnaval y contribuyen a una identidad cubana común que adquiere connotaciones patrióticas. Al examinar la experiencia estética de la canción “Somos cubanos” de Los Van Van, muestro cómo el nacionalismo político se representa a través de la interacción entre ritmos, melodías y letras.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"37 1","pages":"165 - 207"},"PeriodicalIF":0.1,"publicationDate":"2016-11-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339033","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}

引用次数: 4