Transnational Networks
This chapter describes four circuits of musical practice in the 1920s and 1930s, in order to locate the emergence of Latin America as a musical space. It analyzes: (1) the entertainment scene’s repertoire of Manila, Philippines, in the early 1920s; (2) the Latin American repertoire in the career of Russian Jewish singer Isa Kremer, who ended up in Argentina in the 1930s; (3) the copyright strategy of Sociedad Argentina de Autores, Intérpretes y Compositores de Música (SADAIC), the Argentine society for composers of tango and other popular styles, in the late 1920s; and (4) the Mexican broadcasting system XEW, the very first commercial attempt to build a Latin American musical platform. In every case, local, national, and transational dimensions of musical practice are approached in terms of music genres, market structures, and musical ideologies.