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Artículos de revistas sobre el tema "Humanities -> music -> latin"

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Publicado: 26 de julio de 2024
Última modificación: 31 de julio de 2025

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1

Cusic, Don. "Latin America and Country Music." Journal of Popular Culture 33, no. 3 (1999): 39–47. http://dx.doi.org/10.1111/j.0022-3840.1999.3303_39.x.

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2

Coldiron, Katie, and Julio Capó. "Making Miami’s History and Present More Accessible." International Journal of Information, Diversity, & Inclusion (IJIDI) 6, no. 4 (2023): 84–98. http://dx.doi.org/10.33137/ijidi.v6i4.38943.

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This is a work-in-progress report of Miami Studies, a curricular, research, and collections-focused initiative housed at the Wolfsonian Public Humanities Lab (WPHL) at Florida International University (FIU). Miami Studies represents a unique approach to Latina/o/x studies in the Greater Miami region and at one of the largest Hispanic-Serving Institutions (HSI) in the country. The rationale, framework, and historical context for a Miami Studies school of urbanism is described in detail. This is followed by an explanation of the WPHL’s digitally focused initiatives: the digitization of a now-def
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3

Minks, Amanda, and Ana María Ochoa Gautier. "Music, Language, Aurality: Latin American and Caribbean Resoundings." Annual Review of Anthropology 50, no. 1 (2021): 23–39. http://dx.doi.org/10.1146/annurev-anthro-121319-071347.

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Recent work in anthropology has attended to the imbrication of music, sound, listening, and language in research on, and from, Latin America and the Caribbean, as part of a broader movement across regions. In this article, we argue that these relations have their own intellectual genealogies in Latin America and the Caribbean, which have often been neglected in studies written about the region. We focus on recent theorization of aurality—the immediate and mediated practices of listening that construct perceptions of nature, bodies, voices, and technologies. We provide an overview of regional d
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4

Shain, Richard M. "The Re(Public) of Salsa: Afro-Cuban Music in Fin-de-Siècle Dakar." Africa 79, no. 2 (2009): 186–206. http://dx.doi.org/10.3366/e0001972009000680.

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This article explores why, despite its diminished popularity, Afro-Cuban music remains among the most performed musics in Senegalese music clubs. Since the Second World War, many Senegalese have associated Afro-Cuban music with cosmopolitanism and modernity. In particular, Senegalese who came of age during the Independence era associate Latin music with a new model of sociability that emphasized ‘correct’ behaviour – elegant attire and self-discipline. Participating in an emerging ‘café society’ was especially important. The rise of m'balax music in the late 1970s, deemed more culturally ‘auth
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5

Beal, Jane. "Matthew Cheung Salisbury, Worship in Medieval England. Past Imperfect Series. Croydon: ARC Humanities Press, 2018, 92 pages." Mediaevistik 32, no. 1 (2020): 315–18. http://dx.doi.org/10.3726/med.2019.01.42.

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Matthew Cheung Salisbury, a Lecturer in Music at University and Worcester College, Oxford, and a member of the Faculty of Music at the University of Oxford, wrote this book for ARC Humanities Press’s Past Imperfect series (a series comparable to Oxford’s Very Short Introductions). Two of his recent, significant contributions to the field of medieval liturgical studies include The Secular Office in Late-Medieval England (Turnhout: Brepols, 2015) and, as editor and translator, Medieval Latin Liturgy in English Translation (Kalamazoo: Medieval Institute Publications, 2017). In keeping with the wo
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6

Ogibowski, Brunno Rossetti. "Resenha/Book Review: Music Education in an Age of Virtuality and Post-Truth." ORFEU 4, no. 2 (2019): 127–42. http://dx.doi.org/10.5965/2525530404022019127.

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Este texto apresenta a resenha do livro Music education in an age of virtuality and post-truth, do professor canadense da Western University, Paul G. Woodford. O livro costura o pragmatismo de John Dewey com as ideias de George Orwell sobre as sociedades de massa em busca de compreender o impacto que determinadas ações de políticos do século XXI podem causar no campo da Educação, da Arte e das Humanidades. Como conclusão, são oferecidos exemplos similares de políticos do Brasil e da América Latina, com o suporte das ideias de Newton Duarte,2 que ele chamou de O currículo em tempos de obscurant
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7

Abreu, Mariana. "Black Epistemologies and Music: A Dialogue with Emicida's Sobre crianças, quadris, pesadelos e lições de casa." Hispania 107, no. 2-3 (2024): 353–65. http://dx.doi.org/10.1353/hpn.2024.a929133.

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Abstract: The arts have consistently been interlocutors for Black scholarship in the humanities. Poetry, literature, and music are sources of knowledge for theorizing social realities. This relates to two elements: (a) an epistemology that values the production and spread of oral, subjective, and aesthetic forms of knowledge; (b) the systematic exclusion of Black people from academic spaces, especially in Latin American contexts, which encourages alternative practices of reflection and registry. Many artists actively consider what is produced in the cultural margins to be a strong locus of pol
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8

Béhague, Gerard H. "Recent Studies on the Music of Latin America." Latin American Research Review 20, no. 3 (1985): 218–27. http://dx.doi.org/10.1017/s0023879100021774.

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9

Wade, Peter. "Globalization and Appropriation in Latin American Popular Music." Latin American Research Review 39, no. 1 (2004): 273–84. http://dx.doi.org/10.1017/s0023879100039108.

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10

Morris, Nancy. "Cultural Interaction in Latin American and Caribbean Music." Latin American Research Review 34, no. 1 (1999): 187–200. http://dx.doi.org/10.1017/s0023879100024353.

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11

Winans, Robert B., and Irene V. Jackson. "More than Drumming: Essays on African and Afro-Latin American Music and Musicians." Journal of American Folklore 99, no. 393 (1986): 358. http://dx.doi.org/10.2307/540835.

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12

Deitz (book editor), Luc, Timothy Kircher (book editor), Jonathan Reid (book editor), and Anne-Marie Lewis (review author). "Neo-Latin and the Humanities: Essays in Honour of Charles E. Fantazzi." Renaissance and Reformation 37, no. 3 (2015): 289–91. http://dx.doi.org/10.33137/rr.v37i3.22474.

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13

Martínez, Elena. "The Book of Salsa: A Chronicle of Urban Music from the Caribbean to New York CitySounding Salsa: Performing Latin Music in New York City." Journal of American Folklore 122, no. 486 (2009): 493–96. http://dx.doi.org/10.2307/40390083.

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14

Lavielle Pullés, Ligia, and Diana Lisset Pompa López. "The unveiled beauty of cedar and yarey palm: the handcraft of one Cuban traditional group of Haitian descent." Anais do Museu Paulista: História e Cultura Material 32 (April 8, 2024): 1–32. http://dx.doi.org/10.11606/1982-02672024v32e9.

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The different Latin American handcraft tells us stories from any material used in the piece. Their differences have been nourished by ancient ethnic roots and they are based in the diversity of each continental region. The crafts are as mixed as Latin America itself. In Cuba, this kind of good is created by subjects who are far away from the academic sector. The empirical knowledge is transmitted from one generation to the next, within the same community and/ or family, and consequently, historical value is added to this production, rather than its use value. The present paper exposed the hand
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15

Chandler, James. "Memories Are Made of This." Representations 154, no. 1 (2021): 99–112. http://dx.doi.org/10.1525/rep.2021.154.8.99.

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This essay considers the cultural implications of a brief period in the life of New York’s Brill Building, America’s second Tin Pan Alley, a transformative moment in R&B that involved music performed by African American artists but written by songwriters committed to “Jewish Latin.” Recorded on 45 rpm vinyl, circulated in jukeboxes and on radio in new Top 40 radio formats, this sound formed young taste, and, in the bargain, its commercial cycles produced staggered temporal segments that shaped feeling and memory for a generation. One’s sense of life history, of history itself, was time-cod
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16

Morris, Nancy. "Canto Porque es Necesario Cantar: The New Song Movement in Chile, 1973–1983." Latin American Research Review 21, no. 2 (1986): 117–36. http://dx.doi.org/10.1017/s0023879100015995.

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“Para el camino” Canto a la angustia y a las alegrias. Canto porque es necesario can tar para ir dejando una huella en los dias, para ir diciendo cosas prohibidas.“For the Road” I sing of anguish and joy. I sing because it's necessary to sing to leave my mark on time, to say forbidden things.Latin American New Song is distinct from the usual stereotypes of Latin American popular music. Songs such as “Para el camino” do not fit into the common categories of salsa, ballads, Spanish-language versions of U.S. hit songs or popularized traditional styles such as the ranchera and cumbia. Although New
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17

WADE, PETER. "Rethinking Mestizaje: Ideology and Lived Experience." Journal of Latin American Studies 37, no. 2 (2005): 239–57. http://dx.doi.org/10.1017/s0022216x05008990.

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The ideology of mestizaje (mixture) in Latin America has frequently been seen as involving a process of national homogenisation and of hiding a reality of racist exclusion behind a mask of inclusiveness. This view is challenged here through the argument that mestizaje inherently implies a permanent dimension of national differentiation and that, while exclusion undoubtedly exists in practice, inclusion is more than simply a mask. Case studies drawn from Colombian popular music, Venezuelan popular religion and Brazilian popular Christianity are used to illustrate these arguments, wherein inclus
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18

Wood, Stephanie, and Dolores Moyano Martin. "Handbook of Latin American Studies, Humanities: A Selective and Annotated Guide to Recent Publications in Art, Folklore, History, Language, Literature, Music, and Philosophy, Vol. 50." Ethnohistory 39, no. 4 (1992): 543. http://dx.doi.org/10.2307/481985.

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19

Elena Martínez. "The Book of Salsa: A Chronicle of Urban Music from the Caribbean to New York City, and: Sounding Salsa: Performing Latin Music in New York City (review)." Journal of American Folklore 122, no. 486 (2009): 493–96. http://dx.doi.org/10.1353/jaf.0.0107.

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20

Smith, Virginia, Karrie Florence, and Franklin Maria. "Semantics in cultural perspective overview." Linguistics and Culture Review 2, no. 1 (2018): 24–31. http://dx.doi.org/10.21744/lingcure.v2n1.9.

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The article was to aim to investigate the semantics overview based on the cultural perspective. The aim of semantics is to discover why meaning is more complex than simply the words formed in a sentence. Culture is a word for the 'way of life' of groups of people, meaning the way they do things. The excellence of taste in the fine arts and humanities, also known as high culture. An integrated pattern of human knowledge, belief, and behavior. The outlook, attitudes, values, morals, goals, and customs shared by a society. Culture is the characteristics and knowledge of a particular group of peop
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21

Bellaviti, Sean. "La Hora de la Salsa: Nicolás Maduro and the Political Dimensions of Salsa in Venezuela." Journal of Latin American Studies 53, no. 2 (2021): 373–96. http://dx.doi.org/10.1017/s0022216x21000237.

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AbstractIn this article I examine how, during a period of extreme social unrest, Venezuelan President Nicolás Maduro took up the role of a salsa radio deejay as a show of confidence in his hold on political power and of his solidarity with ordinary Venezuelans. I argue that this all but unprecedented and, for many, controversial course of action by a sitting president provides us with an unusual opportunity to analyse Venezuela's long-standing political crisis. In particular, I highlight how Maduro harnessed salsa's long association with poor Latin Americans, its connection to Venezuela and it
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22

Whittaker, Geraint Rhys. "Cultural Nationalism and Ethnic Music in Latin AmericaEdited by William H.Beezley. Albuquerque: University of New Mexico Press , 2018, 272pp. $29.95 (pbk)." Nations and Nationalism 25, no. 4 (2019): 1436–38. http://dx.doi.org/10.1111/nana.12564.

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23

Kube, Sven. "Cumbia! Scenes of a Migrant Latin American Music Genre. Eds. HéctorFernández L'Hoeste and PabloVila. Durham, NC: Duke University Press, 2013. 302 pp. $24.95 paper." Journal of Popular Culture 47, no. 3 (2014): 662–65. http://dx.doi.org/10.1111/jpcu.12147.

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24

King, John. "Simon Collier, The Life, Music, and Times of Carlos Gardel (Pitt Latin American Series. Pittsburgh, Pa.: University of Pittsburgh Press, 1986, US$24.95). Pp. xv+340." Journal of Latin American Studies 20, no. 2 (1988): 496–99. http://dx.doi.org/10.1017/s0022216x00003321.

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25

Ahsani, S. A. H. "The State of Research on Islamic Spain." American Journal of Islam and Society 9, no. 4 (1992): 556–62. http://dx.doi.org/10.35632/ajis.v9i4.2541.

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The era of Muslim rule in Spain (711-1491 CE) witnessed great contributionsin many areas of knowledge and learning. Rapid strides weremade in such diverse fields as art and architecture, agriculture and handicrafts,linguistics and literature, humanities and Social studies, music andpoetry, and the physical and mechanical sciences. In fact, Islamic Spain,known to the Muslim world as al Andalus, served as a bridge for thetransfer of the knowledge and wisdom of Classical Greece to Europe, aprocess that eventually led to the European Renaissance.The achievements of al Andalus will not be discussed
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26

Petrovic, Ivana, and Andrej Petrovic. "General." Greece and Rome 65, no. 2 (2018): 282–97. http://dx.doi.org/10.1017/s0017383518000244.

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I was very excited to get my hands on what was promising to be a magnificent and extremely helpfulHandbook of Rhetorical Studies, and my expectations were matched – and exceeded! This handbook contains no less than sixty contributions written by eminent experts and is divided into six parts. Each section opens with a brief orientation essay, tracing the development of rhetoric in a specific period, and is followed by individual chapters which are organized thematically. Part I contains eleven chapters on ‘Greek Rhetoric’, and the areas covered are law, politics, historiography, pedagogy, poeti
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27

BUTTERWORTH, JAMES. "Javier F. León and Helena Simonett (eds.), Views from the South: A Latin American Music Reader (Urbana, IL: University of Illinois Press in collaboration with the Society for Ethnomusicology, 2016), pp. xi + 449, £28.99, pb." Journal of Latin American Studies 50, no. 3 (2018): 773–75. http://dx.doi.org/10.1017/s0022216x18000615.

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28

Simon, Anne. "The Unpleasant Taste of Death: The Challenge of Industrial Livestock to Literature." Colloquia 50 (December 30, 2022): 79–89. http://dx.doi.org/10.51554/coll.22.50.06.

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Industrial livestock production with its communication strategy aimed at concealing a filthy death and the bad taste of the meat produced has become an important motif in contemporary literature. How to create a narrative about the quiet life of animals that blend in a large herd? A life that is ruthlessly framed by a beginning (insemination) and an end (slaughter) lacks deviation and adventure—it lacks the possibility of becoming the material for a novel. The aim of this article is to examine the poetic devices and ethical aspirations of an emerging genre called the ‘agroalimentary novel,’ wh
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29

Negri, Manuel. "Collezioni di miracoli mariani al tempo di Alfonso X." Revista de Poética Medieval 35 (November 30, 2021): 179–96. http://dx.doi.org/10.37536/rpm.2021.35.35.89260.

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La seconda metà del XIII sec., periodo nel quale opera politicamente e culturalmente Alfonso X, rappresenta il momento di massima fioritura della miracolistica mariana nello spazio europeo. Le collezioni di miracoli mariani allora disponibili sono sia il frutto di una tradizione di opere universalmente riconosciute che narrano fatti prodigiosi permessi dall’intermediazione della Vergine Maria, sia il risultato di nuove aggiunte ai temi più tradizionali. Inoltre, alle collezioni trasmesse in lingua latina, si affiancano anche altre raccolte in volgare scaturite non solo dalla penna di nuovi ecc
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30

Merla-Watson, Cathryn Josefina. "Dissonant Divas in Chicana Music: The Limits of La Onda. By Deborah R. Vargas. Minneapolis: University of Minnesota Press, 2012.Wild Tongues: Transnational Mexican Popular Culture. By Rita E. Urquijo-Ruiz. Austin: University of Texas Press, 2012.Performing the US Latina and Latino Borderlands. Edited by Arturo J. Aldama, Chela Sandoval, and Peter J. García. Bloomington: Indiana University Press, 2012." Signs: Journal of Women in Culture and Society 39, no. 4 (2014): 1028–32. http://dx.doi.org/10.1086/675580.

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31

Izquierdo, José Manuel, and Fernanda Vera. "Digital Humanities and Nineteenth Century Music: Some Perspectives and Examples from Latin America." Nineteenth-Century Music Review, January 27, 2020, 1–7. http://dx.doi.org/10.1017/s1479409819000703.

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The advent of digital resources, the Internet, and an interconnected globe has deeply affected the humanities and its research. Music scholars in Latin America, like everywhere else, have observed this explosion of digital information sharing, but not everyone has been able to take advantage of the new opportunities afforded by this technology. On the one hand, advantages of digitization are slowly becoming recognized as tools to fight the enormous size of the region (Latin America), especially through technology's ability to easily and promptly disperse sources across great distances. In addi
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32

Konstan, David. "Being Moved: Motion and Emotion in Classical Antiquity and Today." Emotion Review, September 27, 2021, 175407392110400. http://dx.doi.org/10.1177/17540739211040080.

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Efforts to identify in the expression “being moved” a new emotion have found a hospitable environment in the recent turn to the body in emotion and cognitive studies, exemplified herein affect theory, with a particular focus on the effects of music. Although classical Greek and Latin had comparable expressions, however, they did not single out a specific emotion. Given that music played an important role in ancient educational theories, and was imagined as having arousing powerful reactions, this might seem a curious absence. The reason, at least in part, maybe the strong cognitive conception
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33

"The overseas student’s community of three boys lived in Gyeonggi-do and acceptance of Western learning in the first half of the 19th century." Institute For Kyeongki Cultural Studies 45, no. 1 (2024): 31–54. http://dx.doi.org/10.26426/kcs.2024.45.1.31.

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The three first-generation seminarians, Choi Bang-je, Choi Yang-up, and Kim Dae-gun, who were also the first overseas students in Korean Catholic history, all lived in Gyeonggi-do at the time of selection, so they had the advantage that Father Pierre Philibert Maubant(1803~1839) who settled in Seoul in early 1836, was suitable for selecting the seminarians within a short period of six months. Among them, Kim Dae-gun and Choi Yang-up became the first-generation Korean priests, and are considered the pioneers who first learned and utilized Western modern studies. The seminarians were summoned to
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34

Cole, Sebastian, and Jessica Yarin Robinson. "Curating Christmas." M/C Journal 27, no. 6 (2024). http://dx.doi.org/10.5204/mcj.3125.

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Introduction As music listening transitions from physical to digital formats, the model for how people organise and discover new music is being taken over by the features of digital streaming services (Lüders; Rothenbuhler; Wikström). Playlists, akin to the mixtape of the analogue era, have broken up the album model, catering to specific moods, genres, and events (Bonini and Gandini; Prey; Siles et al., "Genres"). On Spotify, algorithmic playlists are readily mixed in with human-curated playlists, blurring the lines between the selections of personal human choice, and the datafied choices driv
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35

Romera-Figueroa, Elia, and Gad Yola. "Madrid is Browning: A conversation with Gad Yola." Cultural Dynamics, February 16, 2024. http://dx.doi.org/10.1177/09213740231223846.

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Afro-LatinX drag artist Gad Yola was born in Lima in 1995, migrated to Spain in 2006, and began performing in Madrid in 2017, a year marked by the rise of Spanish nationalism. This interview acquaints us with Gad Yola's artistic vision and practices. It orients us toward the growing presence of “Brown art” in the Peninsula, taking a deeper look at the work of artists who declare themselves “migrants” or “Migrantas” and examining the use of LatinX’s X in Spain. Gad Yola’s career includes performances such as “El drag es marrón” (“Drag Is Brown”), the exhibition “Hypernariz” (“Hypernose”), and t
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36

Cunanan, Ericka Mae. "True Harmony Between Liturgy and Popular Piety: Expressing The Thomasian Faith in The Sabuaga Festival." Scientia - The International Journal on the Liberal Arts 10, no. 2 (2021). http://dx.doi.org/10.57106/scientia.v10i2.134.

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The Directory on Popular Piety and the Liturgy (DPPL) upholds that Christian worship originates and is brought to completion in the Spirit of Christ, which dispenses truthful liturgical devotion and realistic manifestations of popular piety. A vigorous engagement of evangelization and culture is embodied in the Sabuaga Festival, an Easter Sunday celebration in Sto. Tomas, Pampanga. It is a collaboration of the Catholic Church (St. Thomas the Apostle Parish) and the Local Government Unit (Sto. Tomas).
 This paper argues how a true and fruitful harmony between liturgy and popular piety is a
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Nairn, Angelique, and Lorna Piatti-Farnell. "The Artificial." M/C Journal 27, no. 6 (2024). http://dx.doi.org/10.5204/mcj.3141.

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Orvell noted that despite the evolution of society, imitation and authenticity function as “compass points” that guide meaning-making and retain potency as humans continue to negotiate the real and the unreal in society (ix). Describing the natural and the artificial, Birnbacher contended that, simply put, it is the difference “between what has ‘become’ and what has been ‘made’” (2): the view is that if something exists independent of human intervention, then that would make it a natural entity. Of course, he noted such a definition was not straightforward, citing examples of products manufact
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Pegrum, Mark. "Pop Goes the Spiritual." M/C Journal 4, no. 2 (2001). http://dx.doi.org/10.5204/mcj.1904.

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Kylie Minogue, her interviewer tells us in the October 2000 issue of Sky Magazine, is a "fatalist": meaning she "believe[s] everything happens for a reason" (Minogue "Kylie" 20). And what kind of reason would that be? Well, the Australian singer gives us a few clues in her interview of the previous month with Attitude, which she liberally peppers with references to her personal beliefs (Minogue "Special K" 43-46). When asked why she shouldn't be on top all the time, she explains: "It's yin and yang. It's all in the balance." A Taoist – or at any rate Chinese – perspective then? Yet, when asked
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