Experimentalisms in Practice

2018 ◽  
Keyword(s):  
Case Studies ◽  
Latin American ◽  
The United States ◽  
American Music ◽  
Experimental Music ◽  
Latin American Music ◽  
Latin Americans ◽  
Musical Practices ◽  
Traditional Scholarship ◽  
Broad Approach

This book problematizes the notion of experimentalism as defined in conventional narratives about experimental musical practices. Contributors take a broad approach to a wide variety of Latin@ and Latin American music traditions conceived and/or perceived as experimental. The adoption of a plural “experimentalisms” points at a purposeful decentering of its usual US and Eurocentric interpretative frameworks. The case studies in this book contribute to this by challenging discourses about Latin@s and Latin Americans that have historically marginalized them. As such, the notion of “experimentalisms” works as a grouping, as a performative operation of sound, soundings, music, and musicking that gives social and historical meaning to the networks it temporarily conforms and situates. This book responds to recent efforts to reframe and reconceptualize the study of experimental music in terms of epistemological perspective and geographic scope, but also engages traditional scholarship about musical experimentalisms. Contributors provide important challenges in relation to the types of music that have been traditionally considered experimental and the reasons why scholars have adopted these perspectives. Included in this book are case studies localized in Argentina, Brazil, Colombia, Costa Rica, Cuba, México, Peru, and the United States, but with frequent regional, transnational, and postnational implications. This book contributes to the current conversations about music experimentalism while providing new points of entry to further reevaluate the field.

The Practices of Experimentalism in Latin@ and Latin American Music

2018 ◽  
Author(s):  
Ana R. Alonso-Minutti ◽  
Eduardo Herrera ◽  
Alejandro L. Madrid
Keyword(s):  
Case Studies ◽  
Latin American ◽  
American Music ◽  
Latin American Music ◽  
Latin Americans ◽  
Theoretical Issues

This chapter introduces the main theoretical issues discussed in the book and puts them in dialogue with contemporary discussions about them. The book’s adoption of the plural term “experimentalisms” points toward a purposeful decentering of the usual US and Eurocentric interpretative frameworks. The case studies in this volume contribute to this by challenging discourses about Latin@s and Latin Americans and experimentalism that have historically marginalized them. As such, the notion of “experimentalisms” works as a performative operation of sound, soundings, music, and musicking that gives social and historical meaning to the networks it temporarily conforms and situates. The authors propose an understanding of music experimentalisms as a series of continuous presences that navigate fluidly in a transhistorical imaginary encounter of pasts and presents.

Latin/Pan-American Music

2020 ◽  
pp. 172-192
Author(s):  
Pablo Palomino
Keyword(s):  
World War Ii ◽  
Latin American ◽  
Educational Practice ◽  
The United States ◽  
American Music ◽  
World War ◽  
Latin American Music ◽  
Pan American ◽  
Charles Seeger ◽  
Latin Americanism

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.

The Transnational Formation of Latin American Musicology

2020 ◽  
pp. 139-171
Author(s):  
Pablo Palomino
Keyword(s):  
United States ◽  
Latin America ◽  
Latin American ◽  
The United States ◽  
American Music ◽  
Latin American Music ◽  
Regional Institutions ◽  
History Of ◽  
A Site ◽  
Professional Journey

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.

The Latin Tinge: The Impact of Latin American Music on the United States

Notes ◽  
1980 ◽  
Vol 36 (4) ◽  
pp. 899
Author(s):  
Susan T. Sommer ◽  
John Storm Roberts
Keyword(s):  
United States ◽  
Latin American ◽  
The United States ◽  
American Music ◽  
Latin American Music ◽  
The Impact

The “Othering” of Latin Jazz

Latin Jazz ◽  
2020 ◽  
pp. 112-141
Author(s):  
Christopher Washburne
Keyword(s):  
Popular Music ◽  
Case Studies ◽  
Latin American ◽  
American Music ◽  
Latin American Music ◽  
The Caribbean ◽  
Economic Marginalization ◽  
Latin Jazz ◽  
The 1960S

This chapter discusses various ways the Caribbean and Latin American music styles continued to share a common history with jazz from the 1940s to the 1960s, intersecting, cross-influencing, and at times seeming inseparable, as each has played seminal roles in the other’s development. Three case studies are discussed: the collaboration of Dizzy Gillespie and Chano Pozo, the Jazz Samba recording by Charlie Byrd and Stan Getz, and Mongo Santamaría’s “Watermelon Man” recording. In much of the jazz literature, these musicians and their seminal roles have been diminished or downright ignored. This chapter explores the reasons for these omissions and the systematic “othering” of Latin jazz. It examines the forces at play in their continued exclusion; explores how this omission is tied to the economic marginalization of jazz, racism, nationalism, tensions between art and popular music, and canon construction; and identifies what is at stake when Latin jazz is included.

Introduction

2020 ◽  
pp. xii-24
Author(s):  
Pablo Palomino
Keyword(s):  
Latin America ◽  
Latin American ◽  
American History ◽  
American Music ◽  
Latin American Music ◽  
Latin American History ◽  
Musical Practices ◽  
History Of ◽  
Definition Of

This introductory chapter describes the contribution of the book to key historiographic and intellectual approaches to music and Latin American history. It locates historically and conceptually the emergence of the category of Latin American music within the history of the idea of Latin America since the nineteenth century. It focuses on the emergence of a cultural definition of Latin America as a region and argues about the centrality of music in it. It is a conversation with many intellectual, political, and aesthetic histories of the region. It describes the main concepts utilized in the book—musical practices, transnationalism, modernity—and the overall content of each chapter.

Creative Trends in Latin American Music-II

Tempo ◽  
1959 ◽  
pp. 25-28
Author(s):  
Gilbert Chase
Keyword(s):  
United States ◽  
Latin American ◽  
The United States ◽  
American Music ◽  
Central American ◽  
Main Trend ◽  
Musical Structure ◽  
Latin American Music ◽  
Ernst Krenek ◽  
Guggenheim Fellowship

Leaving the continent of South America we come to Panamá and the five Central American Republics. In Panamá we find a composer whose star is rapidly rising, Roque Cordero (b. 1917), previously mentioned as one of the prize-winners of the Caracas Festival. Cordero studied with Ernst Křenek in the United States on a Guggenheim Fellowship and became addicted to twelve-note writing, which, however, he employs freely rather than dogmatically. Like so many others, he began along the path of folkloristic nationalism with a Capricho Interiorano (1939) for orchestra, based on the mejorana, a typical Panamanian dance; continuing with the Panamanian Overture No. II, and the ballet Setetule, on themes of the Cuna Indians of Panamá. But his main trend has been towards subjective expression in symphonic form, initiated with his Symphony I (1945) and reaching its culmination to date in his Symphony II (in one movement), composed for the Caracas Festival in 1957. This is an intensely dramatic and emotional utterance, saved from mere rhetoric not only by its communicative sincerity (which called forth an ovation from a public rather recalcitrant to musical modernism) but also by its solid musical structure.

The Latin Tinge: The Impact of Latin American Music on the United States

1981 ◽  
Vol 25 (3) ◽  
pp. 535
Author(s):  
Gerard Behague ◽  
John Storm Roberts
Keyword(s):  
United States ◽  
Latin American ◽  
The United States ◽  
American Music ◽  
Latin American Music ◽  
The Impact

Music and Regionalism Since the 1950s

2020 ◽  
pp. 193-208
Author(s):  
Pablo Palomino
Keyword(s):  
Latin America ◽  
Latin American ◽  
The United States ◽  
American Music ◽  
Contemporary Culture ◽  
Latin American Music ◽  
Musical Space ◽  
The 1950S ◽  
Latin Americanism ◽  
Musical Understanding

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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