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

{"title":"Músicos y tambores en la etnomusicología de la transculturación: Fernando Ortiz, los tamboreros de Regla y la etnografía afrocubana","authors":"Jorge Pávez Ojeda","doi":"10.7560/LAMR37203","DOIUrl":"https://doi.org/10.7560/LAMR37203","url":null,"abstract":"resumen:En este artículo nos interesamos a las formas de producción de la “autoridad etnográfica” en la obra musicológica de Fernando Ortiz, como autor fundador de una narrativa etnológica de la nación cubana en la cual la música afrocubana fue llamada a ocupar un lugar central. Podremos ver la emergencia e inscripción de los agentes de la dialogía etnográfica —los tambores y los tamboreros de Regla (La Habana) como objetos y sujetos etnológicos— en el texto de la representación musical.abstract:In this article I study the form of production of the “ethnographic authority” in the musicological work of Fernando Ortiz, founding author of an ethnological narrative for the Cuban nation, in which Afro-Cuban music occupies a central place. In this way, we will be able to see the rise and inscription of the ethnographic dialogic agency—the drums and the drummers from Regla (Havana) as ethnomusicology objects and subjects—in the texts of music representation.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"37 1","pages":"208 - 238"},"PeriodicalIF":0.1,"publicationDate":"2016-11-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339040","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":"Highland Afro-Ecuadorian Bomba and Identity along the Black Pacific at the Turn of the Twenty-First Century","authors":"Francisco D. Lara, Diana Ruggiero","doi":"10.7560/LAMR37201","DOIUrl":"https://doi.org/10.7560/LAMR37201","url":null,"abstract":"This article addresses music and identity in the black Pacific through a discussion of the highland Afro-Ecuadorian bomba (genre of music and dance). Marginalized through much of the twentieth century, bomba is today recognized and celebrated throughout Ecuador as a prominent signifier of highland black ethnic, or afrochoteño, identity. Current manifestations of bomba, however, present competing interpretations and representations of bomba and afrochoteño identity: one static in its adherence to authenticity and tradition, and the other dynamic in its embrace of hybridity and modernity. Through a social history of bomba’s recent development and examination of current stylistic trends in bomba performance, this article shows how bomba, in its diverse manifestations, indexes the shifting afrochoteño experience of blackness in Ecuador. This study updates the extant academic literature on Afro-Ecuadorian bomba as well as contributing to a growing body of literature documenting and theorizing black music and identity along the black Pacific.resumen:Este artículo abarca la música y la identidad en el Pacífico negro a través de una discusión de la bomba afroecuatoriana (género de música y danza). Marginalizada durante gran parte del siglo XX, la música bomba es reconocida hoy en día en el Ecuador como un símbolo de la identidad y la cultura afrodescendiente (afrochoteña) de la sierra norte. Las manifestaciones actuales de la música y la danza bomba presentan interpretaciones conflictivas del género de la bomba y la identidad afrochoteña: por un lado estática en su adherencia a la autenticidad y la tradición, y por otro lado dinámica en su acercamiento a la hibridez y la modernidad. A través de una historia social y de un análisis de las tendencias estilísticas actuales de la música bomba, este artículo muestra cómo el género musical y de danza bomba, en sus diversas manifestaciones, funciona cómo índice de la experiencia subalterna afrochoteña. Este estudio contribuye a la literatura académica sobre la bomba afroecuatoriana y la música y la identidad afro en el Pacífico negro.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"37 1","pages":"135 - 164"},"PeriodicalIF":0.1,"publicationDate":"2016-11-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339436","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":"The Militant Song Movement in Latin America: Chile, Uruguay, and Argentina ed. by Pablo Vila (review)","authors":"Julianne Graper","doi":"10.5860/choice.185636","DOIUrl":"https://doi.org/10.5860/choice.185636","url":null,"abstract":"Latin America in the 1960s and 1970s underwent a profound and often violent process of social change. From the Cuban Revolution to the massive guerrilla movements in Argentina, Uruguay, Peru, Colombia, and most of Central America, to the democratic socialist experiment of Allende in Chile, to the increased popularity of socialist-oriented parties in Uruguay, or para-socialist movements, such as the Juventud Peronista in Argentina, the idea of social change was in the air. Although this topic has been explored from a political and social point of view, there is an aspect that has remained fairly unexplored. The cultural—and especially musical—dimension of this movement, so vital in order to comprehend the extent of its emotional appeal, has not been fully documented. Without an account of how music was pervasively used in the construction of the emotional components that always accompany political action, any explanation of what occurred in Latin America during that period will be always partial. This book is an initial attempt to overcome this deficit.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"37 1","pages":"244 - 246"},"PeriodicalIF":0.1,"publicationDate":"2016-11-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71025275","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":"Sun, Sea, and Sound: Music and Tourism in the Circum-Caribbean by Timothy Rommen and Daniel T. Neely (review)","authors":"Hannah Rogers","doi":"10.5860/choice.190815","DOIUrl":"https://doi.org/10.5860/choice.190815","url":null,"abstract":"","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"37 1","pages":"239 - 240"},"PeriodicalIF":0.1,"publicationDate":"2016-11-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71028385","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":"Mapping Synecdoche: The Place of Place in Cuban Popular Music","authors":"T. Astley","doi":"10.7560/LAMR37103","DOIUrl":"https://doi.org/10.7560/LAMR37103","url":null,"abstract":"abstract: The abundant references to place in Cuban music are symptomatic of the “obsession” with constructing and defining a national identity that many writers have noted. In the rhetoric of constructing and defining Cubanness that occupies so much of Cuban culture, place, identity, and music intertwine. Musical genres, as well as the great musicians that play them, are not just found in “authentic places” on the Cuban map; they are born there, even defined by geographical place. This narrative allows for a mutually authenticating feedback loop in which musician authenticates place and place is used to authenticate musician. However, this trialectic of music, place, and identity is increasingly being problematized by certain “alternative” musicians who find themselves positioned “outside the Revolution.” Their places question these somewhat essentialized notions of a placed identity while simultaneously attempting to draw themselves into the musical cartography of Cubanness. resumen: Las abundantes referencias a lugares de origen en la música cubana son sintomáticas de la “obsesión” por construir y definir una identidad nacional, lo que ha sido notado por muchos escritores. En la retórica de construir y definir lo que es “cubanía”, algo que ocupa tanto a la cultura cubana, las nociones de lugar, identidad y música se entremezclan. Los géneros musicales, así como los iconos musicales que los popularizan, no se ubican en los llamados “lugares auténticos” del mapa de Cuba, pero sí nacieron allí, y por tanto se definen a partir de esa geografía. Esta narrativa hace posible un círculo de retroalimentación que valida la autenticidad de ambas partes; o sea, el músico valida el lugar de origen y este sirve a su vez para autenticar al músico. Sin embargo, esta relación entre música, lugar e identidad se problematiza crecientemente si tenemos en cuenta a ciertos tipos de músicos “alternativos” que se hayan posicionados “fuera de la Revolución”. Sus posiciones llevan a cuestionar las nociones simplificadas de identidad a partir de lugar de origen, e invitan a re-examinar la cartografía musical cubana.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"37 1","pages":"65 - 90"},"PeriodicalIF":0.1,"publicationDate":"2016-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339415","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":"Beyond the Border: Meaning and Authenticity in the Adoption of Texas-Mexican Conjunto Music by International Artists","authors":"Erin E. Bauer","doi":"10.7560/LAMR37102","DOIUrl":"https://doi.org/10.7560/LAMR37102","url":null,"abstract":"abstract: Since the 1990s, Texas-Mexican conjunto music has been adopted around the world, raising contemporary considerations of sociological significance in newly widespread musical repertories. In an increasingly postnational world, regional cultural commodities and notions of musical authenticity are no longer confined to an individual race, class, language, or location. For international conjunto musicians, the ability to create an individual identity based on common stylistic heritages, socioeconomic backgrounds, imagined familial connections, and aesthetic attraction demonstrates that popular music can serve to rearticulate a sense of belonging for musicians that is accessible only through new forms of electronic dissemination. resumen: Desde los años 90, la música de conjunto tejano-mexicano se ha adoptado en todo el mundo, elevando consideraciones contemporáneas de importancia sociológica en los repertorios musicales de reciente generalizados. En un mundo cada vez más posnacional, mercancías culturales regionales y las nociones de autenticidad musical ya no se limitan a una carrera individual, clase, idioma o ubicación geográfica. Para los músicos internacionales de conjunto, la capacidad de crear una identidad individual en base a los patrimonios comunes estilísticos, niveles socioeconómicos, conexiones familiares imaginado y la atracción estética demuestra que la música popular puede servir para rearticular un sentido de pertenencia para los músicos accesibles sólo a través de nuevas formas de electrónica difusión.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"37 1","pages":"34 - 64"},"PeriodicalIF":0.1,"publicationDate":"2016-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339367","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":"Brazilian Jive: From Samba to Bossa and Rap by David Treece (review)","authors":"Eric A. Galm","doi":"10.5860/choice.51-3151","DOIUrl":"https://doi.org/10.5860/choice.51-3151","url":null,"abstract":"","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"37 1","pages":"129 - 131"},"PeriodicalIF":0.1,"publicationDate":"2016-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71145028","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":"Incans, Liberators, and Jungle Princesses: The Development of Nationalism in the Art Music of Ecuador","authors":"J. Walker","doi":"10.7560/LAMR37101","DOIUrl":"https://doi.org/10.7560/LAMR37101","url":null,"abstract":"abstract: From its first appearance more than a hundred years ago, musical nationalism in Ecuadorean art music has developed in response to diverse influences and factors. At times, these expressions have been constructed around various notions of identity and consequently have been directed at different elements of society. Through large-scale compositions, such as symphonic works, operas, and ballets, it is possible to observe this development more clearly and to identify elements of national identity. In this article I seek to create a framework for understanding this development by examining such large-scale works and through a detailed reading of testimonial evidence both written and spoken by Ecuadorean musicians. resumen: Desde su primera aparición hace más de cien años, se ha desarrollado el nacionalismo musical en la música culta ecuatoriana en respuesta a diversas influencias y factores. A veces, estas expresiones han sido construidas alrededor de varias nociones de identidad y consecuentemente han sido destinadas a elementos distintos de la sociedad. A través de las composiciones a gran escala, tales como las orquestales, óperas y ballets, es posible observar este desarrollo más claramente e identificar elementos de identidad nacional. En este artículo busco crear un marco para poder entender este desarrollo no sólo a través del análisis de esta composiciones, sino también a través de una lectura detallada de la evidencia testimonial, tanto escrita como oral de los músicos ecuatorianos.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"5 1","pages":"1 - 33"},"PeriodicalIF":0.1,"publicationDate":"2016-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339356","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":"Chico Science + 20: Coexistencialismo versus Canibalismo no Manguebeat","authors":"P. Sneed","doi":"10.7560/LAMR37104","DOIUrl":"https://doi.org/10.7560/LAMR37104","url":null,"abstract":"resumo: Este artigo avalia as repercussões do movimento mangue no panorama regional, nacional e internacional vinte anos após a sua explosiva decolagem. Também faz uma comparação entre o mangue e a poesia da primeira geração do modernismo brasileiro, sobretudo no que diz respeito à “antropofagia” de Oswald de Andrade e à “simultaneidade” de Mário de Andrade. Nos manifestos dos dois movimentos se encontram várias propostas semelhantes, como a desestabilização das hierarquias entre centro e periferia, o primitivismo e a subversão da história oficial, entre outras. O mangue, porém, vai além de binários básicos que opõem o nacional contra o global (ou Norte contra Sul) para oferecer uma cosmovisão mais coletiva e universal que contesta ainda mais a exclusão social, a violência e o desenvolvimento não-sustentável, dentro e fora do Brasil. abstract: This article examines the repercussions of Recife’s “Manguebeat” musical and cultural scene regionally, nationally, and internationally twenty years after the movement’s explosive takeoff. It also compares and contrasts mangue with the poetry of the first generation of Brazilian modernismo, especially in regard to Oswald de Andrade’s notion of anthropophagy and Mario de Andrade’s concept of simultaneity. The manifestos of each movement express similar concerns, such as destabilizing the hierarchies of center and periphery, primitivism, and the subversion of official histories, among others. More than modernism, however, mangue goes beyond basic binaries that oppose the national to the global (or north against south) to offer a more collectivist and universal worldview even more critical of social exclusion, violence, and unsustainable development within Brazil and without.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"37 1","pages":"114 - 91"},"PeriodicalIF":0.1,"publicationDate":"2016-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339426","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":"Danzón: Circum-Caribbean Dialogues in Music and Dance by Alejandro L. Madrid and Robin D. Moore (review)","authors":"Olga Nájera-Ramírez","doi":"10.5860/choice.51-5499","DOIUrl":"https://doi.org/10.5860/choice.51-5499","url":null,"abstract":"","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"36 1","pages":"262 - 263"},"PeriodicalIF":0.1,"publicationDate":"2015-11-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71145836","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}