Academic literature on the topic 'Music – United States – Latin American influences'
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Journal articles on the topic "Music – United States – Latin American influences"
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Cowley, John. "Cultural ‘fusions’: aspects of British West Indian music in the USA and Britain 1918–51." Popular Music 5 (January 1985): 81–96. http://dx.doi.org/10.1017/s0261143000001938.
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In recent years, a surprising void has opened in discussions of the evolution of twentieth-century British popular music. Directly and indirectly, much attention has been given to the influence of the United States. Little, however, has been written on the development of Britain's own popular vocal and dance forms, especially in the key years between the two World Wars; neither have other cultural inter-relationships, such as British acceptance of ‘Latin American’ rhythms received the attention they deserve.
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Kwon, Lois, Daniela Medina, Fady Ghattas, and Lilia Reyes. "Trends in Positive, Negative, and Neutral Themes of Popular Music From 1998 to 2018: Observational Study." JMIR Pediatrics and Parenting 4, no. 2 (June 24, 2021): e26475. http://dx.doi.org/10.2196/26475.
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Background Across the United States, the incidence of adolescent depression and suicide cases has risen in the past 10 years. Despite the risk factors and causes being multifactorial, the influence of popular culture on society and adolescents in this media-driven generation cannot be mitigated. Although the impact of social media and its effect on shaping self-identity in adolescents have been observed, the impact of music and its potential for subliminal negative messages to adolescents remains unclear. Objective This study analyzes the lyrics and music videos of the most popular music of multiple genres to quantify the frequencies of varying music theme trends. Methods The frequencies of themes of 1052 total American and Latin songs were collected from the Nielsen Music and Billboard’s top 100 chart performance from 1998 to 2018 for hip hop/rhythm and blues (R&B), pop, Latin, country, and rock/metal genres. Themes from songs were identified, quantified, and categorized with a rubric into negative, neutral, and positive themes by 3 different reviewers. Analysis was performed using 2-tailed t tests and a generalized linear model. Results Popular songs were reviewed for positive, negative, and neutral themes in the following 3-year intervals for ease of analysis purposes: 1998 to 2000 (n=148), 2001 to 2003 (n=150), 2004 to 2006 (n=148), 2007 to 2009 (n=156), 2010 to 2012 (n= 150), 2013 to 2015 (n=150), and 2016 to 2018 (n=150). There was a significant 180% increase in the percentage of songs with negative themes between all the interval years and across all genres (P<.001), while there was no significant difference in the frequency of songs with positive (P=.54) or neutral (P=.26) themes by year. There were significant differences in the number of negative themes found across genres (P<.001), with hip hop/R&B having the highest frequency of 130 out of 208 (62.5%) of the negative themes when compared to each of the individual genres (P<.001). Conclusions This study shows there is an increase in the frequency of negative themes over the span of 20 years across all genres, with hip hop/R&B having the highest frequency among the genres. These findings point to the potential impact that music may have in popular culture and on society. Furthermore, these results can help shape discussions between caregivers and their adolescent dependents and between primary care providers and their adolescent patients.
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Yoo, Hyesoo, Sangmi Kang, and Victor Fung. "Personality and world music preference of undergraduate non-music majors in South Korea and the United States." Psychology of Music 46, no. 5 (July 14, 2017): 611–25. http://dx.doi.org/10.1177/0305735617716757.
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We investigated contributors of undergraduate nonmusic majors’ preferences for world musics, specifically those from Africa, Asia, and Latin America. Drawing upon the reciprocal feedback model as a theoretical framework, we determined the extent to which predictor variables (familiarity with the music, personality, and music absorption) were related to music preference. Participants were 401 undergraduate nonmusic majors from South Korea ( n = 208) and the USA ( n = 183). Participants took an online survey via Qualtrics that included demographic information, the World Musics Preference Rating Scale, the Big-Five Inventory, and the Absorption in Music Scale. Results indicated that, familiarity, followed by openness to experience, was the strongest predictor of participants’ preferences for world musics. For the U.S. participants, familiarity, followed by openness to experience, was the strongest predictor of participants’ preference for musics from each continent. By contrast, for the South Korean participants, although familiarity was also the strongest predictor for African, Latin American, and Asian musics, openness to experience was not consistently the second strongest contributor. For African music, openness to experience was ranked second; for Latin American and Asian music, agreeableness and music absorption were ranked second, respectively.
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Marc Gidal. "Contemporary “Latin American” Composers of Art Music in the United States: Cosmopolitans Navigating Multiculturalism and Universalism." Latin American Music Review 31, no. 1 (2010): 40–78. http://dx.doi.org/10.1353/lat.2010.0008.
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Hess, Carol A. "Copland in Argentina." Journal of the American Musicological Society 66, no. 1 (2013): 191–250. http://dx.doi.org/10.1525/jams.2013.66.1.191.
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Abstract Perhaps more than any other US composer, Aaron Copland is associated with Pan Americanism, a contradictory and often unbalanced set of practices promoting North-South economic and affective ties since the nineteenth century. Copland visited Latin America on behalf of the US government four times over the course of his career. He also befriended and taught Latin American composers, wrote about Latin American music, and composed several Latin-American—themed works, including the well-known El salón México. Focusing on one such encounter—Copland's three visits to Argentina (1941, 1947, 1963)—this article examines in detail Latin American opinion on Copland's cultural diplomacy, thus challenging the prevalent one-sided and largely US perspective. My analysis of these Spanish-language sources yields new biographical data on Copland while questioning recent assessments of his Latin American experience. I also illuminate the composer's conflicted approach to modernism, intimately connected to his desire to communicate with a broad public and to assert national identity. The crisis of modernism not only played itself out in some surprising ways in Argentina but also informed Copland's profoundly antimodernist vision of Latin American music, one rooted in essentialism and folkloric nationalism and which ultimately prevailed in the United States throughout the late twentieth century.
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Romero, Sergio Ospina. "Ghosts in the Machine and Other Tales around a “Marvelous Invention”: Player Pianos in Latin America in the Early Twentieth Century." Journal of the American Musicological Society 72, no. 1 (2019): 1–42. http://dx.doi.org/10.1525/jams.2019.72.1.1.
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Gabriel García Márquez's literary portrait of the arrival of the pianola in Macondo in One Hundred Years of Solitude functions as a metaphor for the reception and cultural legitimization of player pianos in Latin America during their heyday in the 1910s and 1920s. As a technological intruder, the player piano inhabited a liminal space between the manual and the mechanical as well as between unmediated musical experiences and the mechanically mediated consumption of sounds. It thus constitutes a paradigmatic case by which to examine the contingent construction of ideas about tradition and modernity. The international trade in player pianos between the United States and Latin America during the first decades of the twentieth century was developed in tandem with the commercial expansion and political interventionism of the United States throughout the Americas during the same period. The efforts of North American businessmen to capture the Latin American market and the establishment of marketing networks between US companies and Latin American dealers reveal a complex interplay of mutual stereotyping, First World War commercial geopolitics, capitalization on European cultural/musical referents, and multiple strategies of appropriation and reconfiguration in relation to the player piano's technological and aesthetic potential. The reception of player pianos in Latin America was characterized by anxieties very similar to those of US consumers, particularly with regard to the acousmatic nature of their sounds and their perceived uncanniness. The cultural legitimization of the instrument in the region depended, however, on its adaptation to local discourses, cultural practices, soundscapes, expectations, language, gender constructions, and especially repertoires.
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Sahni, Varun. "Not Quite British: A Study of External Influences on the Argentine Navy." Journal of Latin American Studies 25, no. 3 (October 1993): 489–513. http://dx.doi.org/10.1017/s0022216x00006647.
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Political studies of military institutions in Latin America have tended to lay heavy stress on their external linkages, with a good deal of emphasis being placed upon the ‘differential degrees of dependence upon other countries for supplies, parts, training and equipment by the various service branches’. This particularly the case when scholars attempt to explain why two military institutions differ in their political behaviour and ideological orientation. Thus, we find Lieuwen asserting that[t]he aristocratic tendencies of [Latin American] naval officers… often were moderated by the democratic views of the British and United States officers who were their professional advisers. Conversely, before World War II, authoritarian attitudes of some Latin American armies were reinforced by the influence of German, Spanish, and Italian military missions.
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Aquino, André Carlos Busanelli de, Eugenio Caperchione, Ricardo Lopes Cardoso, and Ileana Steccolini. "Influências estrangeiras no desenvolvimento e inovações recentes em contabilidade e finanças do setor público na América Latina." Revista de Administração Pública 54, no. 1 (January 2020): 1–10. http://dx.doi.org/10.1590/0034-761220200057.
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Abstract The idea for this special issue was to contribute to the international literature on public sector accounting from a Latin-American perspective, exploring which forces influence Public Sector Accounting and Finance (PSA&F) artifacts and concepts in Latin America, and how they occur. There is evidence that later influences from countries such as Italy, the United Kingdom, the United States, and New Zealand played a role in PSA&F developments in Latin-America. However, the roots and the associated effects (e.g., recent innovations, resistances, decoupling) of PSA&F are still unanswered questions. Such ‘recent innovations’ on public financial management processes include but are not limited to accrual accounting, convergence towards IPSAS, risk assessment, auditing, and budgeting. This special issue contains four articles capturing different perspectives of influences and mechanisms of PSA&F in the region.
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Aquino, André Carlos Busanelli de, Eugenio Caperchione, Ricardo Lopes Cardoso, and Ileana Steccolini. "Overseas influences on the development and recent innovations on public sector accounting and finance in Latin America." Revista de Administração Pública 54, no. 1 (January 2020): 1–10. http://dx.doi.org/10.1590/0034-761220200057x.
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Abstract The idea for this special issue was to contribute to the international literature on public sector accounting from a Latin-American perspective, exploring which forces influence Public Sector Accounting and Finance (PSA&F) artifacts and concepts in Latin America, and how they occur. There is evidence that later influences from countries such as Italy, the United Kingdom, the United States, and New Zealand played a role in PSA&F developments in Latin-America. However, the roots and the associated effects (e.g., recent innovations, resistances, decoupling) of PSA&F are still unanswered questions. Such ‘recent innovations’ on public financial management processes include but are not limited to accrual accounting, convergence towards IPSAS, risk assessment, auditing, and budgeting. This special issue contains four articles capturing different perspectives of influences and mechanisms of PSA&F in the region.
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HERRERA, EDUARDO. "Electroacoustic Music At CLAEM: A Pioneer Studio in Latin America." Journal of the Society for American Music 12, no. 2 (April 5, 2018): 179–212. http://dx.doi.org/10.1017/s1752196318000056.
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AbstractDuring the 1950s and ’60s, many composers began exploring the possibilities provided by commercially available magnetic tape recording and electronically produced sound. In Latin America, the most successful early electroacoustic studio was hosted at the Centro Latinoamericano de Altos Estudios Musicales (CLAEM), part of the Torcuato Di Tella Institute in Buenos Aires, Argentina. This article chronicles the eight years of existence of CLAEM's Laboratorio de música electrónica (1964–1971), and its role in the training of composers hailing from Argentina, Bolivia, Brazil, Colombia, Costa Rica, Chile, Ecuador, Guatemala, Mexico, Peru, Puerto Rico, Uruguay, and the United States. This historical account of pioneering Latin American electroacoustic music provides insight into the aesthetic and technical developments that earned the laboratory at CLAEM a place in the regional and transnational world of contemporary music making and demonstrates the crucial role of locality in the adoption, consumption, and rearticulation of international musical models.
Dissertations / Theses on the topic "Music – United States – Latin American influences"
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Willsie, Lucas. "Latin American Fusion: An Analysis of U.S. and Latin American Musical Styles and their Synthesis Exhibited in "The Cape Cod Files" by Paquito D'Rivera." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505206/.
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This document focuses on background and performance practice of various musical styles encountered in Paquito D'Rivera's The Cape Cod Files. More specifically, the musical styles examined include: boogie-woogie, Argentine milonga, classical and popular Cuban music, American twelve-bar blues, contemporary atonal music, and Cuban danzón. A brief biography of Paquito D'Rivera is included to establish context of the composer's musical background. Each chapter examines one of the four movements and the musical styles found within that movement. A brief history of each musical style is provided to inform appropriate performance practice decisions.
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Sweeney, Dwight Paul. "The connectors of two worlds: Chano Pozo, Dizzy Gillespie, and the continuity of myth through Afro-Cuban jazz." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2823.
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Explains how Afro-Cuban culture influenced African-American jazzmen and led to the formation of Afro-Cuban or Latin jazz in 1947 by Dizzy Gillespie and Chano Pozo. Explores the musical connections between the physical plane of Cuba and the United States, and the esoteric spiritual world of the orishas and myths coming to life in sacred and secular music forms.
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Murno, Hernan. "Music by twentieth-century Latin-American composers suitable for youth orchestra : a rationale, survey and analysis." Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/558363.
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The purpose of this study was to identify pieces by Twentieth-Century Latin-American composers suitable for performance by Youth Orchestras in the United States. Scores available at the Indiana University Latin-American Music Center were primarily used. This allowed a more comprehensive search while limiting the scope of the study.Orchestral pieces were selected and examined for the study in order to provide insight into particulars of their individual styles and offer them together with pertinent information on the various composers.FindingsThe study identified five Latin-American composers who have written pieces suitable for performance by youth orchestras. The advantages of including Latin-American music in the repertoire of youth orchestras was demonstrated. Social, cultural and political as well as musical reasons for this inclusion were stated.Characteristics of the music of those countries that make it very attractive to young players were taken into consideration in the study, as well as the influence that hispanic traditions have exerted upon the culture of the United States for more than two centuries.It was demonstrated that this cultural interaction, stronger in certain regions of the country, offers added justification for the inclusion of Latin-American repertoire.The analysis of the works selected demonstrated the availability of works of quality that are suitable for performance by youth orchestras, even though they may not have been originally conceived with that in mind.Ancillary identification of information The nature and the author's knowledge of States.Theto the findings listed above was the of substantial omissions in primary sources and reference works consulted for the study. location of these omissions helped to confirm contention that there is very little general art music of Latin-America in the United study also revealed the need for updating current sources of information in order to include more references. The necessary might be to Latin-American composers and their music. project revealed that adjustments in some institutions, both in the United States and the neighboring countries, in order to promote better the music of Latin-American composers in this country. Also, in some cases, the standards of publication and/or copying of materials in the country of origin needs to be upgraded.School of Music
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Villarreal-Licona, Aida M. ""Pa'l Norte," "Sueño Americano" e "Ice El Hielo": Un Análisis del Video Musical en el Desmontaje de la Retórica Anti-Inmigrante en los Estados Unidos." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/884.
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This thesis is an analytical case study of three music videos, "Pa'l Norte" by Calle 13, "Sueño Americano" by Los Rakas, and "Ice El Hielo" by La Santa Cecilia. It explores the visual and lyric narratives of these works and their role in critiquing anti-immigration rhetoric towards Latino immigrants in the United States in a post-9/11 context. Through critical analysis, this thesis argues that their work is vital in dismantling the dehumanizing and criminalizing language prevalent in legal and popular discourse, as well as challenging the manifestations of everyday "illegality."
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Khan, Khatija Bibi. "Post 9/11 constructions of Muslim identities in American black popular music." Thesis, 2010. http://hdl.handle.net/10500/3606.
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The aim of this study was to critically explore the constructions of Muslim identities in selected Black African American popular music composed before and after the 11th of September 2001. This study is interdisciplinary because it used popular culture theories developed by Hall, Strinati, Storey and Gilroy’s concept of the Black Atlantic. Postcolonial literary theories of Bhabha, Spivak and Fanon were also used. The study demonstrated that the content and style of the lyrics by Public Enemy, Talib Kweli, Paris, Lupe Fiasco, Kanye West, Scarface, Miss Eliot, Missundastood, Erykah Badu and KRS-One have been influenced by Islam’s religious versions of the Nation of Islam, Five Percenters or Nation of Gods and Earths and Sunny Islam. Individual singers also manipulated the spiritual symbols and cultural resources made available to them in the Islam religion. Black African American singers more or less share common historical experiences, but they constructed and depicted Muslim identities differently because of their class, generational and gender backgrounds. Chapter one introduced the area of study, justified it and adopted an eclectic theoretical approach in order to account for the diverse constructions of Muslim identities in the songs composed by black African American hip hop singers. Chapter two provided an extended review of literature for the study. Chapter three explored the influence of the Nation of Islam on the singers and its creative manipulation by the black singers. Chapter four explored religious hybridity because the lyrics draw from Islam and Christian eschatological values. Chapter five used lyrics by three black female singers and revealed how they reconfigured differently, Black Muslim identities in a musical industry predominantly patronised by male singers. Chapter six explored the use of language in signifying different meanings of Muslim-ness in order to arrive at different definitions of pan Black Islamic musical consciousness. Chapter seven concluded the study by summarising the central argument of the study which was that black African American singers have referenced cultural symbols from Islam and in the process manipulated Islam’s religious metaphors to suggest different and alternative models for the black communities in the United States of America.English Studies
D. Litt. et Phil.
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Khan, Khatija Bibi. "Post 9/11 constructions of Muslims identities in the American black popular music." Thesis, 2010. http://hdl.handle.net/10500/3606.
Full textAbstract:
The aim of this study was to critically explore the constructions of Muslim identities in selected Black African American popular music composed before and after the 11th of September 2001. This study is interdisciplinary because it used popular culture theories developed by Hall, Strinati, Storey and Gilroy’s concept of the Black Atlantic. Postcolonial literary theories of Bhabha, Spivak and Fanon were also used. The study demonstrated that the content and style of the lyrics by Public Enemy, Talib Kweli, Paris, Lupe Fiasco, Kanye West, Scarface, Miss Eliot, Missundastood, Erykah Badu and KRS-One have been influenced by Islam’s religious versions of the Nation of Islam, Five Percenters or Nation of Gods and Earths and Sunny Islam. Individual singers also manipulated the spiritual symbols and cultural resources made available to them in the Islam religion. Black African American singers more or less share common historical experiences, but they constructed and depicted Muslim identities differently because of their class, generational and gender backgrounds. Chapter one introduced the area of study, justified it and adopted an eclectic theoretical approach in order to account for the diverse constructions of Muslim identities in the songs composed by black African American hip hop singers. Chapter two provided an extended review of literature for the study. Chapter three explored the influence of the Nation of Islam on the singers and its creative manipulation by the black singers. Chapter four explored religious hybridity because the lyrics draw from Islam and Christian eschatological values. Chapter five used lyrics by three black female singers and revealed how they reconfigured differently, Black Muslim identities in a musical industry predominantly patronised by male singers. Chapter six explored the use of language in signifying different meanings of Muslim-ness in order to arrive at different definitions of pan Black Islamic musical consciousness. Chapter seven concluded the study by summarising the central argument of the study which was that black African American singers have referenced cultural symbols from Islam and in the process manipulated Islam’s religious metaphors to suggest different and alternative models for the black communities in the United States of America.English Studies
D. Litt. et Phil.
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Azcona, Stevan César 1972. "Movements in Chicano music : performing culture, performing politics, 1965-1979." 2008. http://hdl.handle.net/2152/17735.
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More than a confined account of the musical activity of the Chicano Movement, my research considers Chicana/o music of the period as a critical part of the protest music genres of Latin America (eg. Nueva canción, canto nuevo) and the Unites States (eg. labor/union and civil rights songs). Consequently, although situated squarely within the context of the Chicano Movement, this project necessarily examines the musical yet political links between Chicano musicians and their counterparts in the American labor movement, Civil Rights Movement, and Latin American social movements of the period. Coupled with the mobilization of their own Mexican musical and cultural traditions, Chicano musicians engaged these other repertoires of struggle to form the nexus of Chicana/o musical expression during the Movement. By viewing Chicana/o music within this broader lens, my research demonstrates that the complexities of the movimiento and Chicana/o political struggle cannot be adequately understood without thinking about how Chicano cultural producers engage a diversity of other race, ethnic, and regional struggles. Rather than assume a homologous relationship between music and identity, my research historicizes musical practices in the context of their struggle for political, social, and cultural rights and resources and the strategies employed by diverse communities working together to overcome the failures of governmental and institutional programs. The creative dialogues and musical exchanges that occurred among Chicano musicians suggest not only forms of ethnic solidarity but also the culturally “hybrid” expressions that shape even nationalist movements. Key to this approach is recognizing the simultaneously global and local character of Chicana/o musical production, where the flows of transnationalism circulated not only ideas, peoples, and sounds, but also political struggles. This project thus raises a number of critical questions about Chicano Movement music and its political import. Ultimately, I suggest that it was the ability to perform authoritatively within the bi-cultural and increasingly transnational space of the Chicano experience that empowered movimiento music to express the feelings of autonomy engendered by the Movement.text
Books on the topic "Music – United States – Latin American influences"
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The Latin tinge: The impact of Latin American music on the United States. 2nd ed. New York: Oxford University Press, 1999.
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Cardona, Luis A. Contributions of the Hispanics to the United States of America. Rockville, Md: Carreta Press, 1991.
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Making the Americas: The United States and Latin America from the age of revolutions to the era of globalization. Albuquerque: University of New Mexico Press, 2007.
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Negotiating paradise: U.S. tourism and empire in twentieth-century Latin America. Chapel Hill, N.C: University of North Carolina Press, 2009.
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The revolutionary mission: American enterprise in Latin America, 1900-1945. New York: Cambridge University Press, 1996.
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Wasserman, Renata R. Mautner. Exotic nations: Literature and cultural identity in the United States and Brazil, 1830-1930. Ithaca: Cornell University Press, 1994.
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Cosmopolitanism in the Americas. West Lafayette, Ind: Purdue University Press, 2005.
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The chitlin' circuit: And the road to rock 'n' roll. New York: W. W. Norton & Company, 2011.
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Soul babies: Black popular culture and the post-soul aesthetic. New York: Routledge, 2002.
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La otra cara de América: Historias de los inmigrantes latinoamericanos que están cambiando a Estados Unidos. New York: Rayo, 2006.
Find full textBook chapters on the topic "Music – United States – Latin American influences"
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Palomino, Pablo. "Latin/Pan-American Music." In The Invention of Latin American Music, 172–92. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190687403.003.0006.
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This chapter explains the pan-American absorption of Latin Americanism during World War II and the inception of the “world music” discourse that led to the creation of UNESCO. It focuses on the work of Charles Seeger as director of the Pan American Union’s Music Division from the years leading to the United States entry into the war to the immediate postwar years. The chapter analyzes a host of actors and initiatives, by the Pan American Union and other music-related associations, that influenced the consolidation of Latin American music and inter-Americanism as fields of musicological and educational practice. It illuminates the place of Latin American music in the convergence of nationalist traditions, hemispheric rhetoric, and global horizons among musicological and diplomatic actors as World War II came to an end.
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Sheehy, Daniel, Steven Loza, José R. Reyna, and Steven Cornelius. "Latin American Musical Cultures." In Music Cultures in the United States, 243–71. Routledge, 2005. http://dx.doi.org/10.4324/9780203997161-10.
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Palomino, Pablo. "The Transnational Formation of Latin American Musicology." In The Invention of Latin American Music, 139–71. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190687403.003.0005.
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This chapter tells the history of the German-born Uruguayan musicologist Francisco Curt Lange and the Latin-American Music Bulletin he created, a musicological project intended as a forum for musicians and music-related figures from all over Latin America, and the United States, interested in creating a regional field of musicological studies and musical promotion. It examines policies about disc collection, score printing and distribution, musical ethnographies, folklore, musical analysis, conferences, concerts, and regional institutions promoted by the Bulletin, and traces relevant aspects of Lange’s professional journey between Germany, Uruguay, Argentina, Brazil, and the United States, among other places. The chapter also highlights the changing place of the United States, both as a subject of musicological study and as a site of music-related hemispheric initiatives, in the history of this Latin Americanist project.
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Palomino, Pablo. "Music and Regionalism Since the 1950s." In The Invention of Latin American Music, 193–208. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190687403.003.0007.
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This chapter traces the consolidation of Latin American music as a category and of Latin America as a musical space since the 1950s, as part of a larger web of commercial, political, diplomatic, and musicological practices and discourses that consolidated the region as such. It shows how the discourses and markets discussed in previous chapters ended up shaping the current musical understanding of the region. It describes the decades of inter-American and radical musical Latin Americanism in the region from the 1950s to the 1970s, the expansion of the “Latin music” market in the United States and Latin America since the turn of the twenty-first century, and the naturalized meanings of Latin American music in contemporary culture.
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Washburne, Christopher. "“El Tema del Apollo”." In Latin Jazz, 90–112. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780195371628.003.0005.
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This chapter examines the relationship between African America, Latin America, and the Caribbean through the music and its associated performance practices realized on the stage of the Apollo Theater in Harlem from 1934 to the early 2000s. Through the lens of race, nation, and ethnicity, the complex and often tenuous relations among the diverse peoples who colluded and collided on the stage of the Apollo to produce some of the most significant and influential contributions to popular cultural expression in the United States throughout the twentieth century are explored. Though the Apollo is considered one of the most significant and influential venues in the twentieth century for African American music, studying the discourse and historical narratives concerning the theater’s history and traditions reveals that the venue was also one of the most important Caribbean and Latin American stages in the United States during that time. Situated just blocks from one of the most vibrant Caribbean and Latin American neighborhoods in North America, Spanish Harlem or El Barrio, the Apollo Theater was and continues to be a nexus for intercultural exchange between African American, Latin American, and Caribbean musics.
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Anderson, Crystal S. "Conclusion." In Soul in Seoul, 147–60. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830098.003.0005.
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This chapter uses Korean indie groups to reveal the diversity of music under the K-pop umbrella and the ramifications of such diversity for music aesthetics, authenticity, and globalization. Placing K-pop within a global R&B tradition highlights K-pop as a diverse style of music largely informed by African American popular music. It reveals the extent to which Black popular music has informed K-pop. Technology enables fans to access a wide array of K-pop, foster fan communities, and act as critics and arbiters of taste. K-pop’s place in a global R&B tradition also reveals the diversity of global influences, challenging the focus on a generalized West and United States that obscures the impact of African American culture.
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Heyman, Barbara B. "Recognition." In Samuel Barber, 182–212. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863739.003.0008.
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This chapter describes Barber’s close relationship with Italian conductor Arturo Toscanini. Barber would frequently visit the conductor in his home, most days ending with music. This friendship resulted in Toscanini requesting that Barber write a work for the newly formed NBC Symphony Orchestra. This was a rare privilege, as Toscanini in the past had ignored American composers. His broadcasts were received with much enthusiasm from audiences. Toscanini further advanced Barber’s career by bringing his music to Latin America, with Barber being the first American composer whose work reached those shores. For Toscanini, Barber composed Essay for Orchestra and arranged the second movement of his earlier string quartet as the Adagio for Strings, which brought him international fame and became, as it were, the national funeral music of the United States, associated with the deaths of such famous names as Albert Einstein, Franklin Roosevelt, and Grace Kelly and with the tragedy of September 11, 2001. The chapter also covers Barber’s unaccompanied choral works.
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Dunn, Christopher. "Power and Joy." In Contracultura. University of North Carolina Press, 2016. http://dx.doi.org/10.5149/northcarolina/9781469628516.003.0001.
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The Introduction discusses the term “counterculture” in relation to diverse historical contexts to refer to individual and collective resistance to political authority, social conventions, or established aesthetic values. To illustrate some of the values and concerns of the counterculture, the author discusses three poems associated with poesia marginal in Brazil. While noting its theoretical formulation in relation to youth culture and dissent in the United States during the 1960s, the author shows how the term applied to diverse Latin American contexts during the Cold War period, notably Mexico, Argentina, Uruguay, and Chile. In relation to Brazil, I discuss the counterculture in relation to the the rise of an authoritarian military that stifled civil society dissent and censored artistic expression, producing what some critics called the vazio cultural, or “cultural void.” Finally, I show how the counterculture emerged with Tropicália, an artistic movement that coalesced in 1968 with particular strength in the field of popular music.