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HANDBOOK OF LATIN AMERICAN STUDIES: NO. 70 HUMANITIES

Prepared by a Number of Scholars for the Hispanic Division of The Library of Congress

KATHERINE D. McCANN, Humanities Editor TRACY NORTH, Social Sciences Editor

201 5

UNIVERSITY OF TEXAS PRESS Austin

546 / Handbook of Latin American Studies v. 70

different musical personality to examine Cuba's musical richness: Alfredo Rodriguez's "Cuba Linda," Graciela Perez and her work with Machito and his African-Cubans, Dii­maso Perez Prado and the mambo, the musi­cal documentaries of Rogelio Paris and Sara G6mez, and finally the impact of the Cold War as seen in the music of Alex Ruiz, Los can Can, and X Alfonso.

2480 Wirtz, Kristina. Performing Afro­Cuba: image, voice, spectacle in

the making of race and history. Chicago,

ANDEAN COUNTRIES

---­Ill.i London: Univ. of Chicago Press, 2014. 329 p.: bibl., ill., index, maps.

Wirtz is a cultural and linguistic anthropologist specializing in santeria in contemporary Cuba. She employs several well-selected examples (i.e., Carnival, folk religion rituals, folklore spectacles) to demonstrate how the island nation's colo­nial past and African heritage are reflected in such manifestations. Likewise, they are also a reflection of revolution, religion, and politics.

JONATHAN RITTER, Associate Professor of Ethnomusicology and Director, UCR Latin American Studies Program, University of California, Riverside

THE MORE THAN 40 PUBLICATIONS considered here reflect an especially pro­ductive and robust review cycle for Andean music scholarship, with notable major studies by established scholars as well as a considerable number of works by a new generation of ethnomusicologists and musicologists conducting research in the re­gion. While popular music remains a dominant topic, recent years have witnessed a welcome resurgence of ethnographic works exploring folk and traditional genres, as well as a healthy continued interest in the history and current practice of West­ern art music in the Andes.

Like the border-crossing, hybrid genres they address, studies of popular mu­sic in the Andes continue to evade neat categorization by national origin or audi­ence. Two recent and important edited volumes on cumbia illustrate the point em­phatically: while both books celebrate the genre's origins in northern Colombia, each dedicates the majority of its pages to the music's diffusion and diversification in places like Argentina (with cumbia villera), Mexico (in musica norteiiat Peru (chicha and technocumbia), and even New Jersey (items 2368 and 2369). Indeed, several authors make a convincing case for cumbia's long-term development and consequent importance as a symbol and practice of regional and national identity outside of Colombia, including the aforementioned cases from Peru (items 2504 and 2507) and, most interestingly, in Ecuador, where the popularity of Peruvian technocumbia reveals a double displacement from its ostensibly Colombian roots (item 2493). Studies of other popular music genres in the region echo this trend, including works on Caribbean and Nuyorican salsa in Peru (items 2494 and 2499) and reggaet6n in Venezuela (item 2514).

Music and musicians from the folk/traditional end of the artistic spectrum also defy national boundaries today through the formal and informal byways of the world music industry as well as the migratory flows of diasporic Andean populations themselves. While the presence of Andean music in transnational folk music circuits is nothing new, particularly after the heyday of Chilean nueva canci6n and the Andean street band phenomenon in the 1970S and 80S, several

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works reviewed here illustrate important changes in both what kinds of Andean music are now being exported and the ways in which this music is being received. North American anthropologist Michelle Bigenho's superb ethnographic study of Andean music performance in Japan explores some of these changes, revealing the oft-awkward negotiations over identity and indigenous representation informing performances by Bolivian musicians on tour to this East Asian country, but per­haps even more tellingly, also among Japanese aficionados and amateur performers of Andean music (item 2482). In a very different vein, Swiss ethnomusicologist Claude Ferrier examines the presence of orquesta tipica, or saxophone orchestra, music from Peru's Mantaro Valley in the major cities of central and southern Eu­rope_ Ferrier's study focuses particularly on Milan, Italy, where a sizable Peruvian migrant community began forming in the 1980s (item 2498). In both of these works, the authors' subject positions as performing musicians with the groups they study also inform their ethnographic analyses in productive ways, underscor­ing the multiplicity of identities and subject positions at play in Andean music performance abroad.

While travel and transculturation were important themes in much recent Andean music scholarship at a broad level, some of the best recent work on music in the Andes focuses on the deep roots and locally grounded cultural histories of musical genres and practices tied to particular places and countries within the region. Scholarship on music in Ecuador, for instance, was particularly strong during this review cycle. Most prominently, Ecuadorian ethnomusicologist Ketty Wong's monograph on music and nationalism-first published in Spanish and winner of the Cas a de las Americas Musicology Prize in 20ro-is a major achieve­ment, exploring multiple genres and musical histories in the country as contested sites of national identity (item 2493). As Wong notes, throughout much of the 20th century only the pasillo occupied the symbolic role of "national music" in Ecuador, a point also underscored by Crist6bal Ojeda Martinez in his massive, two-volume compendium of information about the genre (item 2491). While Ojeda Martinez laments the passing of the pasillo's golden age, Wong takes a more mea­sured approach, interrogating the ways in which other genres-chichera music of urban indigenous peoples, sentimental rocolera music of the urban working class, and even Peruvian technocumbia-have emerged to contest the pasillo's primacy as an expression of Ecuadorian identity.

A different kind of challenge to Ecuadorian identity informs two recent theses on Afro-Ecuadorian music, highlighted here for both their quality and the future they portend for ethnomusicological research in the country. Fran­cisco Lara's groundbreaking doctoral dissertation, entitled "La Bomba es vida (La Bomba Is Life): The Coloniality of Power, La Bomba, and Afrochoteno Iden­tity in Ecuador's Chota-Mira Valley" (20U), is based on extensive ethnographic fieldwork in the region combined with a rigorous engagement with postcolo­nial theory and is also the first substantial study of this music and thus all the more remarkable for its depth and insight. (For full-text access, see the Florida State University DigiNole Commons at http://diginole.lib.fsu.edu/etd/5764f.l Addressing a different and better-studied Afro-Ecuadorian tradition, Peter Jud­kins Wellington's MA thesis, entitled "Folklorization and Afro-Ecuadorian Music in Esmeraldas: Discourses of Vergiienza and Projects of Revalorizaci6n" (2012), focuses on marimba music of the northern coastal province of Esmeral­das, which he positions within discourses of racial identity, shame, and cul­tural revitalization. (For full-text access, see the Illinois Digital Environment

548 / Handbook of Latin American Studies v. 70

for Access to Learning and Scholarship at http://www.ideals.illinois.edu/ handle/2142/42204·)

Peru continues its dominant position in Andean music scholarship, as the origin or subject of a plurality of publications covered by this essay. Romero's bibliographic overview of music studies within or about the country, beginning with the chronicles of early Spanish writers and extending through academic works of the mid-2000s, offers ample evidence of the long-term fascination that both local and foreign scholars have held for Peru's musical cultures (item 2506). Of particular note are several substantial new studies on musica criana from the Peruvian coastal region, including Peruvian ethnomusicologist Javier Le6n's brief overview of criana and Afro-Peruvian music in the 20th century (item 2501), Pe­ruvian journalist Eloy Jauregui's short book of essays on criana music (item 2500), French ethnomusicologist Gerard Borras' expansive study of the vals in early 20th-century Lima (item 2495), and finally, Peruvian ethnomusicologist Rodrigo Chocano's comprehensive monograph on the marinera limefia (item 2497).

Highland genres and musical traditions in Peru receive significant cover-age as well. Most prominently, the huayna, long regarded as the most popular and widespread genre of music and dance in the Andes, is the subject of a number of recent studies that collectively provide a much-needed update to English-language literature about the genre. Among these, North American ethnomusicologist Joshua Thcker's outstanding book on the Ayacuchan huayna (item 2508) and his article discussing the northern "harp huayna" (item 2510) together offer an excel­lent introduction to the two most popular variants of the genre in the last two de­cades, positioning each subgenre's rise within the changing Peruvian mediascape and the politics of class and indigeneity in the country. British ethnomusicologist James Butterworth's unpublished doctoral thesis for the University of London, Royal Holloway, "Andean Divas: Emotions, Ethics, and Intimate Spectacle in Peru­vian Huayno Music" (20I4), and recent article (item 2496) deepen our understand­ing of the latter huayna variant still further, focusing on the neoliberallogics at work in the Andean cultural industry today and the ways that they shape the lives, careers, and music of contemporary female huayna stars.

Beyond the huayna, other Andean musical traditions in Peru also figure importantly in recent scholarship. Adding to his prior books on panpipe tradi­tions in the Lake Titicaca region, Peruvian ethnomusicologist Americo Valencia provides a broad overview of music in the department of Puno in his most recent tome, which covers traditional, popular, and "academic" music in the area, though the latter two sections focus primarily on genres and compositions from the early 20th century (item 2511). Claude Ferrier's previously mentioned book about Andean music in Europe also provides significant background on the arquestas tipicas of the Mantaro Valley (item 2498), as does Joshua Thcker's article for the rural chimaycha genre of central Ayacucho (item 2510). Peruvian anthropologist Zoila Mendoza provides a rare analysis of the role of music in ritual pilgrimage in the Andes, proposing a synesthetic model for understanding Andean ritual experience based on ethnographic work among religious pilgrims to the sanctu­ary of Qoyllurit'i in Cuzco (item 2503). Finally, Peruvian "fusion" music-linking the highlands to the coast, the "Indian" to the "Criollo," and the country to the world-was the subject of important new work by two scholars. Peruvian ethno­musicologist Fiorella Montero Diaz's unpublished PhD dissertation for the Uni­versity of London, Royal Holloway, "Fusion as Inclusion: A Lima Upper Class Delusion?" (20I4), explores the ways in which white, upper-class youth in Lima

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incorporate Andean and Amazonian sounds and influences into the music of an emergent IIfusion" scene in the capital city. Joshua Tucker explores the inverse of this process in his article on "permitted Indians," analyzing the performances, music, and oft-contradictory discourses of indigeneity associated with two An­dean rock and pop bands who achieved relative success in the country in the mid-2000S (item 2509).

Turning to musicology, the scholarship on Western art music and its his­tory in the Andes enjoyed an unexpected boom in recent years, thanks almost exclusively to the efforts of younger scholars working in Colombia, Venezuela, and Peru. Beginning with the first of these, in Colombia current scholarly preoccupa­tions span the entirety of Western art music history in the country, from the colo­nial period to the present, including; the role of sacred music in Catholic evangeli­zation in the 16th century (item 2486); the life and music of an early 19th-century composer, Nicolas Quevedo Rachadell (item 2485); vocal duets by Colombian composers recorded during the 20th century (item 2484); and the development of the Festival of Religious Music held annually in the city of Marinilla from 1978 . to the present (item 2487). Peruvian musicologists were equally comprehensive, at least in historical terms, exploring the deep history of music in the cathedral of Arequipa from the early colonial period to the late 19th century (item 2512); the development of an "academic" or art music tradition in the Puno region, with an emphasis on the late 19th and 20th centuries (item 2511); and most provocatively, the invention of "Inca music" and associated notions of Andean pentaphony by both Peruvian and foreign scholars at the dawn of the 20th century (item 2502).

Finally, and perhaps not surprisingly given Venezuela's famed "sistema" of Western art music education, musicology in and of Venezuela is undergoing an especially pronounced boom. One sign of this disciplinary flourishing was the launch in 2007 of an online, peer-reviewed journal-Musicaenclave: Revista Mu­sical Venezolana-founded by Venezuelan musicologist Eduardo plaza and sup­ported by the Escuela de Arte and Maestria de Musicologia Latinoamericana at the Universidad Central de Venezuela. While two articles from this journal, both on 19th-century art music in Venezuela, are included in the following bibliogra­phy (items 2516 and 2517), scholars interested in any aspect of Venezuelan music history should consult the Musicaenclave website to review its regularly expand­ing archive of original articles-more than 20 as of this writing. The site also includes a links page, blog, and downloadable files of all MA theses in musicology awarded by the Universidad Central de Venezuela since 2007 (see www.musica enclave.com).

Beyond the important development of this journal and web resource, several other books on music and musicians in Venezuela appeared in recent years that bear notice. Looking into the distant past, David Coifman Michailos' massive and award-winning history of Catholic liturgical music in Venezuela during the colo­nial era, based on extensive archival research, merits special attention for its rigor and the contribution it makes to scholarly understanding of Venezuela's early musical history (item 2515). It is, however, Venezuela's thriving musical present that has garnered the most attention by scholars, music critics, and the popular press around the world. Two new books celebrate the source of that attention in different ways. The first, Jose Pulido's biography of Venezuelan conductor Gustavo Dudamel, offers a straightforward account of Dudamel's life from early child­hood through his current position as musical director of the Los Angeles Philhar­monic, featuring interviews with key figures in his life and musical development

550 I Handbook of Latin American Studies v. 70

(item 2518). The second book, by North American music educator and writer Tri­cia Tunstall, is both longer and more ambitious, positioning Dudamel's biography within a social history of "EI Sistema" in Venezuela-Jose Abreu's famous and influential program for music education and social transformation. The title of Tunstall's book, Changing Lives: Gustavo Dudamel, El Sistema, and the Trans­formative Power of Music, hints broadly at the author's conclusions regarding the program's success both in and out of the concert hall (item 2519).

BOLIVIA

2481 Araoz, Gonzalo. Alba: musical tem-porality in the carnival of Oruro,

Bolivia. (in Media, sound, and culture in Latin America and the Caribbean. Edited by Alejandra Bronfman and Andrew Grant Wood, Pittsburgh, Pa.: Univ. of Pittsburgh Press, 2012, p. 87-102)

Taking as its starting point the declaration of Carnival in Oruro, as Intan­gible Cultural Heritage of Humanity by UNESCO in 2001, this article explores the effects of music on temporal perception during a particular ritual moment in the Oruro Carnival. Drawing on ethnographic research and positioning his analysis within the anthropological and social scientific literature on time and temporal experience, the author argues that musical performance in Oruro references seasonal time frames (as a calendrical rite), deeper historical time frames (given the changing instruments, genres, and ethnicities of folkloric represen­tation in Carnival performance), and micro­temporalities in the experience and memory of particular rhythms associated with the morenada dance during the Alba ritual that takes place at the height of Carnival festivities.

2482 Bigenho, Michelle. Intimate distance: Andean music in Japan. Durham,

N.C.: Duke Univ. Press, 2012. 230 p.: bibl., ill., index.

In this book, anthropologist Michelle Bigenho returns to some of the themes­indigeneity, race, nationalism, and musical performance-that animated her earlier work on Bolivian music (e.g., Sounding In­digenous, 2002), but takes them figuratively and geographically in very unexpected new directions. Travelling to Japan to tour and perform with a group of Bolivian musicians, Bigenho interrogates the meanings gener­ated by their performances among Japanese

audiences, and the sense of transcultural intimacy, or "intimate distance/' that lis­tening to and performing Andean music engendered among all involved. The com­plicated ethical entanglements of playing "someone else's music" are a regular theme throughout the book, including her own role as the "gringa anthropologist" perform­ing with Bolivian musicians in Japan, her largely middle-class Bolivian bandmates' equally complicated relationship with An­dean indigenous identities that they were believed to represent for foreign audiences, and finally, among the Japanese community of Andean music aficionados she encoun­ters who learn to perform on Andean folk music instruments. Theoretically rich and ethnographically compelling, Bigenho's book brings heady ideas about globalization and transnational cultural flows down to earth, situating them in the sweet song of musical exchange and intercultural human relationships.

2483 Stobart, Henry. Constructing com-o munity in the digital home studio:

Carnival, creativity, and indigenous music video production in the Bolivian Andes. (Pop. Music/Cambridge, 30:2, May 2011,

p. 209-226, bibl., photos) Building on his long engagement

with indigenous musics in Bolivia, Brit­ish ethnomusicologist Henry Stobart here turns his attention to the evolving phe­nomenon of indigenous media production in that country. Focusing on one video CD producer, Gregorio Mamani, and the cultural and creative decisions involved in the process of making a video disc of local Carnival music, Stobart illuminates the tensions between the communal esthetics of indigenous Carnival music and revelry, and the oft-individualist project of media production in a low-budget digital home studio. An important, deeply ethnographic

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COLOMBIA

2484 Azula, Maria del Pilar; Martha Enna Rodriguez Melo; and Luis Fernando

Leon Rengifo. Cancion andina colombiana en duetos: transcripcion aproximacion do­cumental. Bogota: Facultad de Artes y Hu­manidades, Depto. de Musica, 20I!. 175 p.: bibl., music.

A tightly focused musical study of Colombian Andean vocal duets recorded in the 20th century. The first half of the book provides history and context, includ­ing discussion of the popularity of the duet format and an interview with the com­poser Jaime Llano Gonzalez. The second half turns to analysis of the songs them­selves-44 total, recorded between 1908 and 1997-offering factual information on the composers, lyricists, and musical details, as well as brief commentary on the lyric themes. A CD-ROM included with the book provides musical notation, tran­scribed from the recordings, of all songs discussed in the text.

2485 Duque, Ellie Anne. Nicolas Quevedo Rachadell: un musico de la indepen­

dencia. Bogota: Univ. Nacional de Colombia, Vicerrectoria General, Comision del Bicen­tenario, 20I!. 110 p.: bibl., ill., indexes. (Col. Comision Bicentenario)

A brief study of the life and music of prolific Colombian composer Nicolas Quevedo Rachadell (1803-74), based on ma­terials housed in the Casa Museo Quevedo Zornoza in Zipaquira, the composer's home­town just north of Bogota. The first half of the study, amply illustrated with facsimile reproductions of documents and letters, provides an outline of Quevedo Rachadell's. biographYi the second and third sections offer an overview of his vocal and instru­mental music and a list of extant works. An included CD-ROM provides facsimiles of original scores as well as transcriptions in modern notation.

2486 Farley Rodriguez, Diana. "Y Dios se hizo musica": la conquista musical

del Nuevo Reino de Granadai el caso de los pueblos de indios de las provincias de Tunja y Santafe durante en siglo XVII. (Front.

Music: Andean Countries: Colombia / 551

Rist., 15:1, enerofjunio 2010, p. 13-38, bibl., photo)

Analyzes the role of music in the process of Catholic evangelization in Nuevo Reino de Granada in the 17th century. Fo­cusing on the provinces of Tunja and San­tafe, and drawing upon archival sources as well as early Spanish colonial writings, the author first traces how sacred music arrived to indigenous towns in the region, including an overview of systems of musical educa­tion, repertoire performed, and a discussion of how and why music was important to the process of evangelization. The second part of the article analyzes the social effects of musical evangelization, including the creation of an elite class of indigenous musi­cians capable at times of asserting their own agency and self-determination within differ­ent spheres of colonial power.

2487 Garcia Muiioz, Sergio Andres. Histo-ria del Festival de Musica Religiosa

de Marinilla (Antioquia), 1978-20I!. Mede­llin: Hombre Nuevo Editores, 20I2. 161 p.: bibl., ill.

Based on the author's undergraduate thesis in history at the Universidad de An­tioquia (20IO), this book presents a compre­hensive overview of the origins and develop­ment of the Festival of Religious Music held

. annually in the Colombian city of Marinilla since 1978, including information on festi­val organizers, performing musicians, and repertoire presented.

2488 Gonzalez Zubiria, Fredy Luis. Croni­cas del cancionero vallenato. Barran­

quilla, Colombia: Direccion de Cultura de La Guajira, 20II. 212 p.: bibl., ill.

A collection of short journalistic articles about the lives and music of 14 renowned vallenato composers. Each article is illustrated with photos and representative song lyrics.

2489 Salcedo Ramos, Alberto et a1. La Dinastia Zuleta: homenaje del Fes­

tival Francisco el hombre. Bogota: Grafiq Editores, 2012. 239 p.: bibl., discography, ilL, photos.

A published volume of conference proceedings, La Dinastia Zuleta originated as a series of papers presented at the Univer­sidad de La Guajira in Riohacha, Colombia, as part of the Festival Francisco EI Hombre

552 / Handbook of Latin American Studies v. 70

in 20l!. Extending a long tradition of close ties between the Colombian literary world and the vallenato-most famously the late Gabriel Garcia Marquez's promotion of the genre-this annual festival, begun in 2009, includes a day-long conference each year dedicated to a different figure or theme in vallenato history (see HLAS 68:2842 for the prior volume in this seriesl. The nine essays in this volume, whose authors include liter­ary critics, history professors, music crit­ics, investigative journalists, and vallenato enthusiasts, explore different facets of the musical lives, compositions, and careers of the multigenerational Zuleta family musi­cians. Special attention is given to composer and family patriarch Emiliano Zuleta Ba­quero, also known as "El Viejo Mile/' and his two sons, Poncho and Emiliano, who form the renowned duo "Los Hermanos Zuleta." The book concludes with a well­illustrated discography, and nearly 20 pages of color photos of various members of the Zuleta family.

ECUADOR

2490 Antonio Romero, Dahlia and Silvia A. Manzanilla Sosa. La risa en los canta­

res del pueblo ecuatoriano: seleccion y apun­tes introductorios. Mexico: Ediciones Sin Nombrej Mexico: CONACYTj Hermosillo, Mexico: Univ. de Sonora, 20l!. roo p.: bibl.

A small chapbook of Ecuadorian sung verse on comedic themes, drawn from Juan Leon Mera Martinez's seminal anthology Cantares del pueblo ecuatoriano (18921. The authors' opening essay discusses the ideologies informing Mera's selection over a century ago, including the nationalist spirit of project as well as the influence of His­panic literary traditions. The final 60 pages of song texts are divided into those "about love" and "not about love. II

2491 Ojeda Martinez, Cristobal. Vida, pasion, decadencia y muerte del pasi-

110 popular clasico ecuatoriano. Quito: Casa de la Cultura Ecuaoriana Benjamin Carrion, 20l!. 2 v.: bibl. (Con alas propiasl

A two-volume compendium of facts, opinions, and anecdotes about various musi­cal genres, composers, and songs popular in Ecuador in the early 20th century, compiled and written by Ecuadorian lawyer, song-

writer, and critic Cristobal· Ojeda Martinez. Written in a highly personal style, and drawing primarily on journalistic sources and recordings, Ojeda Martinez divides his work into three major sections. Part One, "Antecedents and Generalities "-compris­ing all of volume 1 and the first chapter of volume 2, more than 800 pages in all, presents a broad panorama of Ecuadorian popular musical history, including informa­tion on specific genres like the yaravi, san­juanito, albazo, bomba, and above all, the pasillo, as well as imported musical genres and digtessions on the history of the piano, the gramophone, and the recording industry. Part Two, "The Era of Romanticism and Its Distant Echo/' profiles Ecuadorian compos­ers, lyricists, and performers of the pasillo. The final and shortest section, "The Sun Sets on the Pasillo" ("Ocaso del Pasillo't la­ments the passing of the pasillo's golden age as Ecuador's "national music."

2492 Wong, Ketty. Song of the national soul: Ecuadorian pasillo in the 20th

century. (Lat. Am. Music Rev., 32:1, Spring/ Summer 20II, p. 59-87, bibl.1

An excellent social history of the Ecuadorian pasillo, this article traces the genre's emergence, popularity, and slow attenuation as Ecuador's most emblematic musical genre. Much of the material appears in Ch. 3 of the author's monograph Whose National Music! (see item 24931.

2493 Wong, Ketty. Whose national music?: identity, mestizaje, and migration in

Ecuador. Philadelphia, Pa.: Temple Univ. Press, 2012. 253 p.: bibl., index. (Studies in Latin American and Caribbean musicl

Ketty Wong's monograph on popular music and nationalism in Ecuador is a wel­come and important addition to the scarce English-language literature on music in the smallest Andean country. Indeed, though important work on various forms of Ecua­dorian traditional music has appeared in numerous journal articles and book chap­ters in recent decades, Wong's book may be the first full volume dedicated solely to Ecuadorian music ever published in En­glish, and it is certainly the only major work to look at popular music in that country. That would make it remarkable enough as a scholarly milestone, but fortunately, Wong's book is also a good read and an excellent

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work of scholarship. Translated from an earlier Spanish-language version, which was awarded the Casa de las Americas' Musicol­ogy Prize in 20IO, Whose National Music! tackles the title question theoretically and empirically through a series of case studies of distinct popular music genres. Filtered through the lens of class, ethnicity, and ge­ography, with a particular emphasis on the mixed· race ideology of mestizaje as a crucial framework, Wong maps the cultural history of musica nacional in Ecuador, or perhaps better stated, music as nacionales, in genres that include the pasillo, rocolera music, chichera music, and most recently, tecno­cumbia. Most of these genres have never been written about in extant scholarship on Ecuador, which makes Wong's contribution all the more startling and informative.

PERU

2494 Aragon, Mario and Juan Gomez Rojas. Un jibarito y el Callao: breve

imagen de Hector Lavoe. Callao, Peru: G6-mez & Arag6n, 2010. 119 p.: discography, ill.

An unusual and singular book explor­ing the life and music of salsa singer Hector Lavoe and his impact on the Peruvian port city of Callao. Written by two Callao poets of different generations in a journalistic style, the book traces the life and music of "EI Cantante," with a particular emphasis on the Puerto Rican singer's unexpected intersections with Peruvian audiences, including the renowned concerts recorded in Callao in 1986, his recording of the bo­lero "Emborrachame de amor" by Peruvian composer Mario Cavagnaro Llerena, and the lingering memories of the singer after his death that led to the erection of a bust in his honor in Callao in 2003.

2495 Borras, Gerard. Lima: el vals y la canci6n criolla, 1900-1936. Lima: lns­

tituto Frances de Estudios Andinos, lFEA: lnstituto de Etnomusicologia, Pontificia Univ. Cat6lica del Peru, 2012. 503 p.: bibl., ill. (some coLl. (Col. "Travaux de l'lnstitut Franc;:ais d'Etudes Andines"j 2931 (Estudios etnograficosj 61

An expansive, detailed study of the Peruvian vals in the first decades of the 20th century. Written by French ethnomusicolo­gist Gerard Borras, the book positions the

Music: Andean Countries: Peru / 553

vals within the musical and sociopolitical contexts of the time, which many regard as its "golden era" prior to the commercial successes that followed later in the 1950S. Chapter One investigates the emergence of the genre in Lima as a popular music at the beginning of the century, noting its place within musica criolla ("Creole music") of the time, the advent of the recording indus­try and other methods of diffusion, musical and poetic influences on the genre's devel· opment, and the competition it faced from imported genres in the 1920S such as the foxtrot and tango. Chapter Two explores the vals' poetic side, drawing upon dozens of song texts to map the genre's comic, amo­rous, and political dimensions, arguing that the vals repertoire constitutes an important chronicle of urban, working class Limeiio life at the time. Chapter Three extends this analysis, demonstrating the important role played by the vals-including the publica­tion of song texts as popular literature, verg­ing on news and editorial commentary­during the II year reign of Augusto Leguia (1919-30) and the political conflicts that preceded and followed that period. The vol­ume concludes with an appendix containing more than 200 pages of song texts, as well as reproductions of vals broadsheets from the early 20th century. An added bonus is the accompanying CD, which contains rare period recordings discussed in the text, including notable tracks by the duo Montes and Manrique.

2496 Butterworth, James. The ethics of success: paradoxes of the suffering

neoliberal self in the Andean Peruvian mu­sic industry. (Gult. Theory Grit., 55:2,2014, p. 212-232, bibl.)

Taking the commercial Andean huayna music industry in Peru and its star performers as his subjects, British ethno­musicologist James Butterworth explores what he calls the "neoliberallogics" at work in the huayno, particularly the ways in which such logics inform the lives, lyrics, and public personae of its stars as hardwork­ing entrepreneurs. Butterworth balances this "neoliberal subject" with what he calls the "suffering subject," a figure rooted in Catholic morality and, in Butterworth's estimation, equally important for any dis­cussion of the discourses and practices sur-

554 / Handbook of Latin American Stndies v. 70

rounding huayno stars. Many of the argu­ments forwarded in this article are explored in more expansive form in the author's dis­sertation, "Andean Divas: Emotions, Ethics, and Intimate Spectacle in Peruvian Huayno Music" (Univ. of London, 2014).

2497 Chocano Paredes, Rodrigo. iHabra jarana en el cielo?: tradicion y cam­

bio en la marinera limeiia. Investigacion y textos de Rodrigo Chocano Paredes. Lima: Peru, Ministerio de Cultura, 2012. 3IS p.: ill., map. (Musica popular peruanaj 2)

A long overdue, well-researched, com­prehensive study of the marinera limeiia in Peru. Fitting with the author's training as an anthropologist, the book emphasizes the changing social roles and cultural practices associated with the genre. Chocano traces this history back to the zamacueca genre in the 19th century, followed by the marinera's consolidation as a working class music played primarily by amateurs in Lima in the early 20th century, and its slow transforma­tion in later decades into a genre celebrating criollo heritage, performed by professional musicians. The final chapter notes some of the new contexts in which the music is taught and performed, including formal training in music schools and official con­tests. Though lyric analysis is not a major focus of the book as a whole, the author con­cludes with a 2s-page appendix of complete song texts that will be of tremendous value to both performers and future scholars.

2498 Ferrier, Claude. Tejiendo tiempo y espacio: armonias huancas en Europa.

Lima: Centro Cultural de San Marcos, Cen­tro Universitario de Folklore: Fondo Edito­rial UNMSM, 2012. lSI p.: bibl., ill., music.

The author of two previous books on the harp and harp wayno in Peru, Swiss ethnomusicologist Claude Ferrier turns his attention in this book to the presence of Pe­ruvian music in Europe. Unusually, his fo­cus is not the typical Andean street band so well known to cosmopolitan citizens of the world, but rather the distinctive saxophone­dominated orquestas tipicas of Peru's Man­taro Valley, and their recent forays into the soundscapes of the cities of Paris, Ziirich, and Milan. The first chapter lays out basic characteristics of the orquesta tipica and its history, including musical forms, the incor­poration of the saxophone and clarinet in

the mid-20th century, and the more recent addition of electronic keyboards and electric bass. The second chapter profiles the pres­ence of the Mantaro Valley orquesta tipica in Europe. Via ethnographic research and writing, Ferrier describes the performance contexts in which this music is heard in Italy, France, and Switzerland, the musical and lyric changes that occur in these con­tests, and Peruvian migrant communities' struggles with cultural marginalization. A final section of the book includes transcrip­tions of interviews with Andean musicians in Europe. The'book is also packaged with a DVD containing a so-minute companion documentary, "Huaylas y Thnantada Fuera de Casa."

2499 Jauregui, Eloy. Pa' bravo yo: historias de la salsa en el Peru. Lima: Mesa

Redonda, 20I1. 182 p.: bibl.(No ficcion) A highly idiosyncratic, literary book

of essays on salsa history by Peruvian poet, journalist, and popular culture critic Eloy Jauregui. Organized into "N' and "B" sides, the 36 short essays address a wide range of figures, albums, concerts, and places throughout the Americas, particularly Cuba and New York, that have played a role in the development and consolidation of salsa as a Pan-American popular music genre. The "bonus" features that conclude the book include a chronology of early events in the popularization of the Cuban son, short biog­raphies of major salsa stars and their bands, and a glossary.

2500 Jauregui, Eloy. El pirata: historias de la musica criolla. Lima: Grupo Edito­

rial Mesa Redonda, 20I1. 129 p.: bibl. (MR no ficcion)

Similar to the author's book of essays on salsa, also published in 20II (see item 2499), Peruvian poet and popular culture critic Eloy Jauregui's El pirata traces the 20th-century history of musica criolla in Peru through a series of highly personal short essays on key figures, institutions, and events that have marked this music and its development. These essays, including pieces on Felipe Pinglo, Chabuca Granda, Karamanduka, Susana Baca, Zambo Cavero, Lucha Reyes, and more, are organized in the form of a marinera limeiia, with "primera," "segunda," and resbalosa (conclusion) sec­tions, followed by a brief bibliography.

2501 Le, PO]

bandas: n en el esp, XX. Edite Spencer. , Exteriore Estatal p, 20IO, p. 2

An tions in F of criollo article tr~ ment and intercol1n criollo 1m forms sue city of Lil vival begi through t alization' genre.

2502 Me elo

and ina y I (Resonan( n bibLi

Ap sis of the, incaica) aJ vi an and f the 20th c document genista sc traces hov emerged f: perspectiv andideolo elevate Ar

2503 Mel calr

en Qoyllu 28:28, die.

Bas( among reI: of Qoyllur Peruvian J

article Pcr ZoilaMen tory, and n work toget tinctly An those invo members f,

e recent ld electric :te pres-~a tipica ch and rmance lrdin musical .se con­unities' ation. A tanscrip­usicians ~d with Ipanion 1a Fuera

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llture 5 the llain anal ions, usic and '[ding 'anda, Cavero,

:d in the "imera,1J n) sec­ly.

2501 Leon, Javier. Musica tradicional y popular en la costa peruana. (in Tres

bandas: mestizaje, sincretismo e hibridaci6n en el espacio sonoro iberoamericano, S. XVI­XX. Edited by Albert Recasens y Christian Spencer. Madrid: Ministerio de Asuntos Exteriores y de Cultura de Espana, Sociedad Estatal para la Accion Cultural Exterior, 20ro, p. 201-208, bibl., photos)

An overview of coastal musical tradi­tions in Peru by one of the leading scholars of criollo and Afro-Peruvian music. The article traces the 20th-century develop­ment and current state of three distinct but interconnected musical traditions: popular criollo music, particularly European-derived forms such as the vals and polka, in the city of Lima; the Afro-Peruvian music re­vival beginning in the 1950S and extending through the present; and the institution­alization of the marinera as a "national" genre.

2502 Mendivil, Julio. Wondrous stories: el descubrimiento de la pentafonia

andina y la invenci6n de la musica incaica. (Resonancias/Santiago, 30, nov. 2012, p. 61-n bibl.)

A provocative and informative analy­sis of the invention of "Inca music" (music a incaica) and Andean pentaphony by Peru­vian and foreign scholars alike at the turn of the 20th century. Drawing upon historical documents and a thorough review of indi­genista scholarship of the period, Mendivil traces how theories of Inca pentaphony emerged from an amalgam of evolutionist perspectives, selective use of empirical data, and ideological imperatives to valorize and elevate Andean music history.

2503 Mendoza, Zoila S. La fuerza de los caminos sonoros: caminata y musica

en Qoyllurit'i. (Anthropol. Dep. Cienc. Soc., 28:28, dic. 20ro, p. 15-38, bibl., photos)

Based on ethnographic research among religious pilgrims to the sanctuary of Qoyllurit'i, a chapel located high in the Peruvian Andes in the Cuzco region, in this article Peruvian American anthropologist Zoila Mendoza argues that visual, audi­tory, and movement-based sensorial cues work together to create a singular and dis­tinctly Andean synesthetic experience for those involved. Working with community members from the district of Pomacanchi,

Music: Andean Countries: Peru / 555

Cuzco, Mendoza analyzes two of the prin­cipal melodies used during the pilgrimage, the "chakiri wayri" and the "alawaru," positioning them within the broader context of the ritual activities associated with the pilgrimage as well as the deeper cultural history such activities evoke. For comment by ethnologist, see HLAS 69:574.

2504 Metz, Kathryn. Pandillar in the jungle: regionalism and tecno-cumbia

in Amazonian Peru. (in Cumbia! Scenes of a migrant Latin American music genre. Ed­ited by Hector Fernandez L'Hoeste and Pablo Vila. Durham, N.C. and London: Duke Univ. Press, p. 168-187)

Tracing the rise of tecnocumbia in the city of Iquitos, this article traces the de­velopment of cumbia music in the Peruvian Amazon, based on ethnographic fieldwork and a deep engagement with the eastern jungle region. Metz links tecnocumbia in Iquitos with a local carnival genre known as pandilla, noting how the fusion of these styles has provided Iquitenos with a claim on both regional distinctiveness as well as their place and importance within the na­tional popular culture imaginary. For com­ment on the entire work, see item 2369.

2505 Ritter, Jonathan. Complementary discourses of truth and memory: the

Peruvian Truth Commission and the can­ci6n social ayacuchana. (in Music, politics, and violence. Edited by Susan Fast and Kip Pegley. Middletown, Conn.: Wesleyan Univ. Press, 2012, p. 197-222, photos)

Offers an engaging analysis of the narratives and discourses of remembrance in response to Peruvian terrorist violence and human rights abuses during the 1980s and 1990S. Explores the juxtaposition of the 2003 commemorative performance of the canci6n social ayacuchana, "Ofrenda," that coincided with the release of the final report by the Peruvian Truth and Reconciliation Commission. Proposes that these discourses assumed opposite and complementary roles in establishing a social space for the com­munal remembrance of violent and trau­matic acts. [D. Schwartz-Kates]

2506 Romero, Raul Renato. Hacia una antropologia de la musica: la etno­

musicologia en el Peru. (in No hay pais mas diverso: compendio de antropologia

556 / Handbook of Latin American Studies v. 70

peruana II. Edited by Carlos Ivan Degregori, Pablo F. Send6n, and Pablo Sandoval. Lima: Instituto de Estudios Andinos, 2012, p. 289-329, bibl.)

Written for a graduate-level, Spanish­language textbook on Peruvian and Peruvi­anist anthropology, this article provides an introduction to the field of ethnomusicol­ogy and the history of ethnomusicological research in Peru. The author, founder of the Institute for Ethnomusicology at Peru's Catholic University, also founding direc­tor of that university's School of Music, is uniquely qualified to provide a panoramic view of Peruvianist music scholarship by national and international scholars. Topics covered include: early sources on colonial and precolonial music practices; indige­nista scholarship of the early 20th century and its emphasis on musical scales and so-called Andean pentatonicism (see also item 2502); the rise of salvage ethnography in the mid-20th century and the ensuing focus on music and song text anthologies; the growing emphasis on ethnography, and pairing "text" with "context" beginning in the 1980s; the simultaneous emergence of new studies focused on cultural heritage and social history, particularly of criollo and Afro-Peruvian music; and the growing recognition by scholars of music's role in urban social movements in Peru, includ­ing Andean migration to the coast and the development of new popular music styles. Romero concludes the chapter with a note on the "ethnomusicological future," noting the lamentable and long-standing division between the fields of anthropology and folklore in Peru, but finding hope in their growing integration and broader scholarly interest in music's various social roles.

2507 Tucker, Joshua. From The world of the poor to the beaches of Eisha:

chich a, cumbia, and the search for a popu­lar subject in Peru. (in Cumbia! Scenes of a migrant Latin American music genre. Ed­ited by Hector Fernandez L'Hoeste and Pablo Vila. Durham, N. C. and London: Duke Univ. Press, 2013, p. 138-167, bibl.)

Following up on earlier English­language works by Thomas Thrino (1990) and RaUl Romero (2002) on the development of Peruvian cumbia music, Joshua Thcker presents the most recent, and in many ways,

most substantial and wide-ranging over­view of the genre and its many variants in the country. Beginning with a discussion of cumbia's recurrent popularity in Peru, exemplified in the mid-2000s by the success of a television mini-series about the life and early death of 1980s chicha icon Chaca16n (aka Lorenzo Palacios Quispe), Thcker tacks backward to trace the history of Peruvian cumbia from I) its origins in the 1960s in various locations-Lima, the Amazon re­gion, and the northern coast-through 2) its heyday in the 1980s as "Andean cumbia" or chicha, followed by 3) the later national popularity of technocumbia from the Ama­zon (see also item 2504), and finally, 4) the success of distinct regional forms in the 2000S that included all of the variants above plus brass-band dominated groups from Peru's northern coast. Throughout, Thcker plays close attention to the class and ethnic dynamics of cumbia artists and audiences, noting that the broad acceptance of the genre among middle and upper class youth has not erased the working-class stigma still associated with it. For comment on entire book, see item 2369.

2508 Tucker, Joshua. Gentleman trouba-dours and Andean pop stars: huayno

music, media work, and ethnic imaginaries in urban Peru. Chicago, Ill.: Univ. of Chi­cago Press, 2013. 232 p.: bibl., ill., index. (Chicago studies in ethnomusicology)

An outstanding contribution to the literature on Peruvian music, and a major statement about the value and necessity of studying media workers, such as record pro­ducers and radio DJs, along with musicians and audiences in assessing the development and impact of popular music styles. Focus­ing on the huayna ayacuchano, Thcker traces the history of this mestizo style from the early 20th century to the present, mapping its movements in both time and space from the elite salons of Ayacucho's indigenista bourgeoisie in the 1930S to the recording studios and broadcasting booths of Lima's Andean music industry in the early 21st century. Beautifully written, com­bining rich ethnographic description with insightful theoretical analysis, this book merits a prominent place on the shelf of any scholar interested in anthropological ap­proaches to media and cultural studies, and

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2509 Tucker, Joshua. Permitted Indians and popular music in contemporary

Peru: the poetics and politics of indig­enous performativity. (Ethnomusicologyf Champaign, 55:3, Fall20II, p. 3I-70, bibl., music)

A nuanced examination of how indi­geneity is produced and represented through popular music in contemporary Peru. Acknowledging the difficulties faced by indigenous peoples and artists in asserting a cultural identity that is both modern and rooted in traditional practices, ethnomusi­cologist Joshua Thcker focuses on two musi­cal groups that have taken very different routes to address that challenge. One band, Alborada, trades on stereotypes of Native North American peoples and New Age mys­ticism learned in Europe, dressing in faux Plains regalia and incorporating aspects of powwow culture in their stage presenta­tions, even as they incorporate Quechua language lyrics. A second group, Uchpa, per­forms covers and original tunes in predomi­nantly heavy metal and hard rock idioms, with occasional nods to Andean musical traditions, and also sung exclusively in Quechua. In both cases, Thcker notes that the recourse to foreign genres and narra­tives of indigeneity allows these musicians and their fans to sidestep the problematic history of indigenismo and indigenist appro­priation within Peru, and instead assert new possibilities for indigenous presence and identity within the country.

2510 Tucker, Joshua. Producing the An-dean voice: popular music, folkloric

performance, and the possessive investment in indigeneity. (Lat. Am. Music Rev., 34:I, Spring/Summer 20I3, p. 3I-70, bibl., ill.)

A detailed and informative com­parison of two distinct Andean musical genres-the urban "harp huayno" or "north­ern huayno" that fuses amplified steel­string harp, drum machines, and female vo­cals, and chimaycha, a folkloric genre sung in Quechua from the Ayacucho region-and the ways in which each stages alternate versions of contemporary Andean identity in Peru. Drawing on ethnographic research in Ayacucho and Lima, Thcker usefully complicates old binaries (i.e., indigenous/

Music: Andean Countries: Peru / 557

mestizo, rural/urban, tradition/modernity) that continue to haunt conversations about music and indigenous culture(s) more gener­ally in Peru.

2511 Valencia Chac6n, Americo. Musica clasica punena: musica tradicional,

popular y academica del altiplano peruano. Puno, Peru: Edici6n del Gobierno Regional Puno, 2006. 209 p.: bibl.

Author of multiple books and articles on the sikuri (panpipe) music of the Peru­vian Altiplano, Americo Valencia Chac6n here provides a broader overview of music in the Puno region. Part One, "La Musica Tradicional Punena," covers the aerophone traditions for which the region is most known, including flutes (pinkillos, tarkas, and others) as well as panpipes. Part Two, "La Musica Popular Punena," is largely dedicated to mestizo musical forms that became popular in the early 20th century, including pusamoreno (also known as siku­moreno) panpipe music, the solo charango (small lute), and the estudiantina (plucked string orchestra). Curiously, though the author notes the "Bolivian influence" on the region in recent decades, no mention is made of contemporary popular music. Finally, Part Three, "La Musica Academica Punena," offers a brief history of Western art music in the region, with short profiles of I4 composers dating from the late I9th century to the present. The book includes two audio CDs: the first contains samples of traditional and popular music drawn from the first two sections of the book; the second contains live recordings of Puneno classical music (Part Three) made during concerts in Juliaca and Puno in August of 2006.

2512 Vega Salvatierra, Zoila Elena. Musica en la Catedral de Arequipa I609-I88I:

fuentes, reglamentaci6n, ceremonias y capilla catedralicia. Arequipa, Peru: Univ. Cat6lica San Pablo, 20II. 254 p.: bibl., ill.

Detailed study of musical practices in the cathedral of Arequipa, beginning with the early colonial era and extending through the later I9th century. Drawing on archival sources within and beyond the church, Vega Salvatierra chronicles the development of ecclesiastical music in this regional capital over nearly three centu­ries, including life histories of musicians,

558 j Handbook of Latin American Studies v. 70 T changing musical practices in the liturgical calendar, musical instruments utilized, and to a limited extent, analysis and reproduc­tions of musical scores themselves. Includes extensive indices of archival material to aid further research.

VENEZUELA

2513 Barreto Rangel, Sofia. Gaita que da miedo: musica y supersticiones en

Margarita, edo. Nueva Esparta. (Musica­enclave (online), 5:1, April20II, 20 p., www .musicaenclave.comjarticlespdfjgaitaqueda miedo.pdf)

Musical and textual analysis of two songs (gaitas orientales) and the myths they relate from Margarita Island in Venezuela's eastern Nueva Esparta state. Centered on fantastical tales of wandering ghosts and sunken treasure, the author examines the music, symbology, and contemporary meanings of these songs within the broader context of the island's culture and folkloric practices.

2514 Borges-Rey, Eddy L. Buhoneros' reggae ton: emerging Venezuelan

musical practices through mediations in the informal sociopolitical ecosystem. (J. Media Cult. Pol., 6:3, 2010, p. 295-309, bibl.)

A study of emergent popular music and transculturation within Venezuela, focused on the rise of reggae ton as a popular music style within the country and ap­proached from a communications studies perspective. Drawing on a combination of qualitative and quantitative data, the au­thors explore the impact of reggae ton on no­tions of Venezuelan musical identity among various musical"actors" within the music industry. The role of the internet in music consumption, taste making, and identity formation is discussed in depth.

2515 Coifman, David. De obispos, reyes, santos y senas en la historia de la

capilla musical de Venezuela, 1532-1804: obra ganadora del concurso de investigaci6n musical y estudios musicologicos de la So­ciedad Espanola de Musicologia. Ano 2008. Madrid: Sociedad Espanola de Musicologia, 2010. 716 p.: bibl., discography, ill., indexes, maps, music. (Publicaciones de la Sociedad Espanola de Musicologia. Secci6n C, Estu­dios; 19)

An ambitious and richly detailed history of Catholic liturgical music in Ven­ezuela during the Spanish colonial era, this book won the Spanish Society for Musicol­ogy's 2008 award for Musical Research and Musicological Study. Drawing on extensive archival research, the author traces the early history of the Venezuelan Church and its music, from the founding of the first cathe­dral in Santa Ana de Coro in 1532, through the bishopric's move a century later to the city of Caracas, and ultimately to the eve of Venezuelan independence in the early 19th century. Given the scarcity of manuscripts and archival information specific to music from the early colonial period, not surpris­ingly, the book is weighted heavily toward the music and movements of the late 17oos, particularly under the influence of Bishop Mariano Marti (1770-1804). The author provides exhaustive detail of the changing personnel, instruments, liturgical calendars, and musical influences on composers, mu­sicians, and Catholic officials throughout this final period. The volume concludes with more than 50 pages of appendices, transcribed from late-18th century archival documents including royal letters and de­crees, church receipts, and personnel lists, illuminating various aspects of religious musical life of the time.

2516 Lopez Maya, Juan de Dios. Los cua-demos de musica de la logia Unani­

midad n° 3. (Musicaenclave (online), 7:1, Jan.jApril2013, 23 p., bibl., photos, tables, <www.musicaenclave.comjarticlespdfj loscuadernosdemusica.pdb)

An overview and brief analysis of the musical scores contained in three hand­written notebooks, all more than a century old, held in the archives of one of the old­est extant Masonic lodges in Venezuela. The author argues that a critical edition of the scores is needed, both for the contribu­tion such a publication would make to the study and performance of Venezuelan music from the 19th century, as well as for the little-studied world of music, ritual, and Freemasonry.

2517 Lopez Maya, Juan de Dios. El primer movimiento de la Sinfonia n. 5 de Juan

Meseron: una forma sonata ortodoxa en el repertorio sinfonico venezolano. (Musica­enclave (online), 5:1, April 2011, 18 p.,

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A musical analysis of 19th-century Venezuelan composer Juan Meser6n's Sym­phony NO.5. The author argues that this symphony, composed before 1821 and thus the oldest work of its kind in the Venezue­lan repertoire, follows standard sonata form in its opening movement, and thus chal­lenges dominant scholarly views that the sonata form was little known at the time in Venezuela.

2518 Pulido, Jose. Gustavo Dudamel: la sinfonia del barrio. Caracas: Editorial

CEe: Libros de El Nacional, 20I!. 226 p. Biography of the Venezuelan con­

ductor Gustavo Dudamel, written by the Venezuelan journalist and poet Jose Pulido. The first chapters describe Dudamel's early childhood and home life, while the re­mainder of the book is based on interviews with key 'figures in Dudamel's musical development and career. Amply illustrated with numerous photos of the conductor, from childhood through his current posi-

SOUTHERN CONE

Music: Southern Cone / 559

tion as musical director of the Los Angeles Philharmonic.

2519 Tunstall, Tricia. Changing lives: Gustavo Dudamel, EI Sistema, and

the transformative power of music. New York: Norton, 20I2. 298 p., 16 p. of plates: bibl., ill., index.

A celebratory account of the life of Venezuelan conductor Gustavo Dudamel and the famed IISistema" that trained and nurtured him, as told by US-based music educator and journalist Tricia Thnstall. Bookended by tales of Dudamel's arrival in California in 2009 as the new director of the Los Angeles Philharmonic and the media frenzy that ensued, the middle chapters trace the development of "El Sistemall in Venezuela, from Jose Abreu's first rehearsal with II students in a garage in 1975 to the national and international phenomenon that it is today. The author places special emphasis on the extra-musical aspects of El Sistema's approach, particularly its focus on musical training as a vehicle for social change.

DEBORAH SCHWARTZ-KATES, Associate Professor of Musicology, Frost School of Music, University of Miami

SCHOLARLY RESEARCH ON MUSIC in the Southern Cone is in a healthy and productive state. The resources needed to support and promote musical study in the region have developed significantly over recent years, even during the brief period since the last HLAS Humanities volume appeared. Gourmet Musical Ediciones, under the expert guidance of Leandro Donozo, continues to publish books of excep­tionally high quality. Top-tier music journals in Argentina, Chile, and the US play a decisive role in circulating the work of scholars at home and abroad. Argentina and Chile have vibrant musicological societies that meet biennially in opposite years. Promising young scholars have the opportunity to pursue advanced musi-cal training in graduate programs at the Universidad de Buenos Aires, Universidad Cat6lica Argentina, Universidad de Chile, and Pontificia Universidad Cat6lica de Chile. The high quality of these programs has produced an outstanding group of new scholars, who ensure the continued vigor of musical research in the region.

Although Argentina and Chile remain the most dynamic sites of musical investigation, auspicious developments have unfolded in Uruguay with the in­stallation of the Centro Nacional de Documentaci6n Musical Lauro Ayestaran. This cultural institution coordinates the organization, preservation, and circula-