Music and Democracy explores music as a resource for societal transformation processes. This book provides recent insights into how individuals and groups used and still use music to achieve social, cultural, and political participation and bring about social change. The contributors present outstanding perspectives on the topic: From the promise and myth of democratization through music technology to the use of music in imposing authoritarian, neoliberal or even fascist political ideas in the past and present up to music's impact on political systems, governmental representation, and socio-political realities. The volume further features approaches in the fields of gender, migration, disability, and digitalization.
The music of the peoples of South and Central America, Mexico, and the Caribbean is treated with unprecedented breadth in this multi-volume work. Taking a sociocultural and human-centered approach, Music in Latin America and the Caribbean gathers the best scholarship from writers all over the world to cover in depth the musical legacies of indigenous peoples, creoles, African descendants, Iberian colonizers, and other immigrant groups that met and mixed in the New World. From these texts, music emerges as the powerful tool that negotiates identities, enacts resistance, performs beliefs, and challenges received aesthetics. More than two decades in the making, this work privileges the perspectives of cultural insiders and emphasizes the role that music plays in human life. Volume 2, Performing the Caribbean Experience, focuses on the reconfiguration of this complex soundscape after the Conquest and on the strategies by which groups from distant worlds reconstructed traditions, assigning new meanings to fragments of memory and welding a fascinating variety of unique Creole cultures. Shaped by an enduring African presence and the experience of slavery and colonization by the Spanish, French, British, and Dutch, peoples of the Caribbean islands and circum-Caribbean territories resorted to the power of music to mirror their history, assert identity, gain freedom, and transcend their experience in lasting musical messages. Essays on pan-Caribbean themes, surveys of traditions, and riveting personal accounts capture the essence of pluralistic and spiritualized brands of creativity through the voices of an unprecedented number of Caribbean authors, including a representative contingent of distinguished Cuban scholars whose work is being published in English translation for the first time in this book. Two CDs with 52 recorded examples illustrate the contributions to this volume.
A reference guide to the vast array of art song literature and composers from Latin America, this book introduces the music of Latin America from a singer's perspective and provides a basis for research into the songs of this richly musical area of the world. The book is divided by country into 22 chapters, with each chapter containing an introductory essay on the music of the region, a catalog of art songs for that country, and a list of publishers. Some chapters include information on additional sources. Singers and teachers may use descriptive annotations (language, poet) or pedagogical annotations (range, tessitura) to determine which pieces are appropriate for their voices or programming needs, or those of their students. The guide will be a valuable resource for vocalists and researchers, however familiar they may be with this glorious repertoire.
More than 90 composers are discussed in detail with biographies, examples of the song literature, and comprehensive listings of stage works, books and recordings, compositions in non-vocal genres, and vocal repertoire.
A Companion to Music at the Habsburgs Courts in the Sixteenth and Seventeenth Centuries, edited by Andrew H. Weaver, is the first in-depth survey of the Habsburg family’s musical patronage over a broad span of time.
"Granados was among the leading pianists of his time, and his eloquence at the keyboard inspired critics to dub him the "poet of the piano." In Enrique Granados: Poet of the Piano, Walter Aaron Clark offers the first substantive study in English of this virtuoso pianist, composer, and music pedagogue. While providing detailed analyses of his major works for voice, piano, and the stage, Clark argues that Granados's art represented a unifying presence on the cultural landscape of Spain during a period of imperial decline, political unrest, and economic transformation. Drawing on newly discovered documents, Clark explores the cultural spheres in which Granados moved, particularly of Castile and Catalonia. Granados's best-known music was inspired by the art of Francisco Goya, especially the Goyescas suite for solo piano that became the basis for the opera. These pieces evoked the colorful and dramatic world that Goya inhabited and depicted in his art. Granados's fascination with Goya's Madrid set him apart from fellow nationalists Albeniz and Falla, who drew their principal inspiration from Andalusia. Though he was resolutely apolitical, Granados's attraction to Castile antagonized some Catalan nationalists, who resented Castilian domination. Yet, Granados also made important contributions to Catalan musical theater and was a prominent figure in the modernist movement in Barcelona.".
"The one source that sets reference collections on Latin American studies apart from all other geographic areas of the world.... The Handbook has provided scholars interested in Latin America with a bibliographical source of a quality unavailable to scholars in most other branches of area studies." —Latin American Research Review Beginning with volume 41 (1979), the University of Texas Press became the publisher of the Handbook of Latin American Studies, the most comprehensive annual bibliography in the field. Compiled by the Hispanic Division of the Library of Congress and annotated by a corps of more than 130 specialists in various disciplines, the Handbook alternates from year to year between social sciences and humanities. The Handbook annotates works on Mexico, Central America, the Caribbean and the Guianas, Spanish South America, and Brazil, as well as materials covering Latin America as a whole. Most of the subsections are preceded by introductory essays that serve as biannual evaluations of the literature and research under way in specialized areas. The Handbook of Latin American Studies is the oldest continuing reference work in the field. Lawrence Boudon, of the Library of Congress Hispanic Division, has been the editor since 2000, and Katherine D. McCann has been assistant editor since 1999. The subject categories for Volume 60 are as follows: Art History (including ethnohistory) Literature (including translations from the Spanish and Portuguese) Music Philosophy: Latin American Thought
Central to the repertoire of Western art music since the 1700s, the symphony has come to be regarded as one of the ultimate compositional challenges. In his series The Symphonic Repertoire, the late A. Peter Brown explored the symphony in Europe from its origins into the 20th century. In Volume V, Brown's former students and colleagues continue his vision by turning to the symphony in the Western Hemisphere. It examines the work of numerous symphonists active from the early 1800s to the present day and the unique challenges they faced in contributing to the European symphonic tradition. The research adds to an unmatched compendium of knowledge for the student, teacher, performer, and sophisticated amateur. This much-anticipated fifth volume of The Symphonic Repertoire: The Symphony in the Americas offers a user-friendly, comprehensive history of the symphony genre in the United States and Latin America.
Tracing musicology in Latin American during the twentieth century, this book presents case studies to illustrate how Latin American music has interacted with social and global processes. The book addresses such topics as popular music, post-colonialism, women in Latin American music, tradition and modernity, musical counterculture, globalization, and identity construction through music. It contributes to the development of paradigms of cultural analysis that originated outside of Latin America by testing them in the Latin American musical context, while also exploring how specifically Latin American models can contribute to broader cultural analysis.
