Music in Latin American Culture: Regional Traditions presents chapters that focus on specific musical cultures including: Mexico, Central American, Brazil, Chile, Columbia, Peru and more. Each chapter is written by an expert in the field and includes specific examples from the contributor's fieldwork.
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"John M. Schechter is Professor of Music, presently also serving as Provost of Merrill College, at the University of California, Santa Cruz. He received the Ph.D. in ethnomusicology from the University of Texas at Austin, where he studied ethnomusicology with Girard Bihague, Andean anthropology with Richard Schaedel, and Quechua with Louisa Stark and Guillermo Delgado-P. Since 1985 he has taught ethnomusicology and music theory, and, up until 2000, directed the Taki qan and Voces Latin American Ensembles, at UC Santa Cruz. With Guillermo Delgado-P., Schechter is co-editor of Quechua Verbal Artistry: The Inscription of Andean Voices/Arte Expresivo Quechua: La Inscripcisn de Voces Andinas (2004; in press), a volume dedicated to Quechua song text, narrative, poetry, dialogue, myth, and riddle. He is general editor of, and a contributing author to, Music in Latin American Culture: Regional Traditions (1999), a volume examining music-cultural traditions in distinct regions of Latin America, with chapters by ethnomusicologists specializing in those regions. He authored The Indispensable Harp: Historical Development, Modern Roles, Configurations, and Performance Practices in Ecuador and Latin America (1992). Schechter's other publications have explored the evolution of the UC Santa Cruz Taki qan ensemble; formulaic expression in Ecuadorian Quichua sanjuan; recent evolution in the bomba, a focal African-Ecuadorian musical genre; the syncretic nature of the Andean Corpus Christi celebration; and the ethnography and cultural history of the Latin American/Iberian child's wake music-ritual."
About the Author
John M. Schechter is Professor of Music, presently also serving as Provost of Merrill College, at the University of California, Santa Cruz. He received the Ph.D. in ethnomusicology from the University of Texas at Austin, where he studied ethnomusicology with Gérard Béhague, Andean anthropology with Richard Schaedel, and Quechua with Louisa Stark and Guillermo Delgado-P. Since 1985 he has taught ethnomusicology and music theory, and, up until 2000, directed the Taki ñan and Voces Latin American Ensembles, at UC Santa Cruz. With Guillermo Delgado-P., Schechter is co-editor of Quechua Verbal Artistry: The Inscription of Andean Voices/Arte Expresivo Quechua: La Inscripción de Voces Andinas (2004; in press), a volume dedicated to Quechua song text, narrative, poetry, dialogue, myth, and riddle. He is general editor of, and a contributing author to, Music in Latin American Culture: Regional Traditions (1999), a volume examining music-cultural traditions in distinct regions of Latin America, with chapters by ethnomusicologists specializing in those regions. He authored The Indispensable Harp: Historical Development, Modern Roles, Configurations, and Performance Practices in Ecuador and Latin America (1992). Schechter's other publications have explored the evolution of the UC Santa Cruz Taki ñan ensemble; formulaic expression in Ecuadorian Quichua sanjuán; recent evolution in the bomba, a focal African-Ecuadorian musical genre; the syncretic nature of the Andean Corpus Christi celebration; and the ethnography and cultural history of the Latin American/Iberian child's wake music-ritual.
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16 of 17 people found the following review helpful:
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This review is from: Music in Latin American Culture: Regional Traditions (Hardcover)
There has long been a need for a scholarly, comprehensive, affordable english language text addressing Latin American music. "Music in Latin American Culture Regional Traditions" provides a schoarly look at the diverse musical cultures of Mexico, Central America, South America and the Caribbean. Each chapter is written by an expert in the field who has first hand experiences with the culture they are discussing. The text covers music rituals, instrument manufacturing, improvisation techniques and culural/social history of the topic under discussion. The bibliography/discography at the end of each chapter is extensive. This text is geared towards the undergraduate student and is similar in context to Jeff Todd Titon's "Worlds of Music: An Introduction to the Music of the World's Peoples" by the same publisher. My only criticism of the book that the Cuban and Puerto Rican contributions to Latin American Music are not covered as thoroughly as they deserve. I believe that although each is mentioned in the text that they, too, deserve an entired chapter in the text.....maybe in the next edition. With the exception of this perceived oversight, the "Music in Latin American Culture Regional Traditions" is an excellent book, filling a much needed gap in scholarly writing on Latin American Music and is a wonderful introduction for those seeking to study the musics of Latin America.
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