The transcultural impact of Latin American musical forms in the United States calls for a deeper understanding of the shifting cultural meanings of music. Musical Migrations examines the tensions between the value of Latin popular music as a metaphor for national identity and its transnational meanings as it traverses national borders, geocultural spaces, audiences, and historical periods. The anthology addresses the role of popular music in Caribbean diasporas in the US and Europe; the trans-Caribbean identities of Salsa and reggae; the racial, cultural, and ethnic hybridity in rock across the Americas; and the tensions between tradition and modernity in Peruvian indigenous music, mariachi music in the United States, and Trinidadian music.
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“Musical Migrations maps the amazing mobility and incredible dynamism of today's "Latin" music. This whirlwind tour of the dynamic, fast changing, and increasingly eclectic musical fusions of the American hemisphere demonstrates that the same processes that so often produce conflict can also generate unprecedented new forms of cultural creativity, cooperation, and coalescence.”
- George Lipsitz, author of Dangerous Crossroads
- George Lipsitz, author of Dangerous Crossroads
About the Author
Frances R. Aparicio is Professor and Director of the Latin American and Latino Studies Program at the University of Illinois, Chicago.
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A Complex, But Vital Update for Ethnomusicology in Latin America,
This review is from: Musical Migrations: Transnationalism and Cultural Hybridity in Latin/o America, Volume I (Paperback)
I am using this book as one of four textbooks in an Ethnomusicology in Latin America course I am teaching in Spring 2008. I found that the introduction was enough to convince me the book has significant value in today's arguments over which country "owns" the "rights" to which style of music, such as the great Salsa Debate between Cuba and Puerto Rico. In Chapter 2 the author of the article looks at Cuban culture in the post-revolutionary period and the differences between music in Cuba, and the music of the Miami exile community. There are important differences and the political messages are boiled down, but I could not help but notice a slight "whitewashing" approach to the Afro-Cuban identity and cultural contributions. Chapter 3 examines the influences of Puerto Rican Salsa on Venezuelan gives compelling evidence of which musicians in various genres influenced eachother, and concludes that while Cuba tends to dominate cultural influence, parallel traditions also need to be considered. Chapter 4 examines the African linguistic contributions to the Caribbean and African Diaspora, a work that owes much to the pioneering style of Robert Farris Thompson. The author takes the reader to Paris, France and reveals how cultural attitudes can sometimes mar legitimate contributions made by ethnic minorities. Other articles throughout the book study rock and roll influences and also the history of mariachi music. Overall this is an important, modern contribution to the growing bofy of work in Latin American musical studies. At times the technical music terminology canbe confusing if the reader is not well-versed in music theory, but overall this is a significant contribution suitable for upper level undergraduate and graduate courses alike. While it is definately not "light" reading, it is highly informative and presents many new views to old themes. I am curious to see what Volume 2 has in store if or when it is published.
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Inside This Book
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First Sentence:
Latin American popular musics have long been recognized as one of the more felicitous consequences of racial and cultural mestizaje that followed the otherwise violent and repressive post-1492 encounters between European, Amerindian, and African cultures. Read the first page Key Phrases - Capitalized Phrases (CAPs): (learn more)
Puerto Rican, New York, Los Angeles, Puerto Rico, Latin American, African American, Spanish Caribbean, University of California, Ritchie Valens, Martin Fierro, Buenos Aires, Ismael Rivera, West African, Los Mojarras, Mexican Americans, Mexico City, Millo Torres, Tito Puente, Barrio Rhythm, New Hampshire, North American, San Juan, University of Chicago Press, Cornejo Polar, Humberto Morales New!
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Front Cover | Table of Contents | First Pages | Index | Surprise Me!
Latin American popular musics have long been recognized as one of the more felicitous consequences of racial and cultural mestizaje that followed the otherwise violent and repressive post-1492 encounters between European, Amerindian, and African cultures. Read the first page Key Phrases - Capitalized Phrases (CAPs): (learn more)
Puerto Rican, New York, Los Angeles, Puerto Rico, Latin American, African American, Spanish Caribbean, University of California, Ritchie Valens, Martin Fierro, Buenos Aires, Ismael Rivera, West African, Los Mojarras, Mexican Americans, Mexico City, Millo Torres, Tito Puente, Barrio Rhythm, New Hampshire, North American, San Juan, University of Chicago Press, Cornejo Polar, Humberto Morales New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Surprise Me!
Citations (learn more)
This book cites 100
books:
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- Colonial Desire: Hybridity in Theory, Culture and Race by ROBERT J.C. YOUNG on 5 pages
- Barrio Rhythm: MEXICAN AMERICAN MUSIC IN LOS ANGELES (Music in American Life) by Steven Loza on 4 pages
- Dangerous Crossroads: Popular Music, Postmodernism and the Focus of Place (Haymarket Series) by George Lipsitz on 4 pages
- Cultural Studies by Lawrence Grossberg on page 31, page 193, and page 196
- Yawar Fiesta by Jose Maria Arguedas on page 132, page 141, and page 145
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