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A Guide to the Latin American Art Song Repertoire

An Annotated Catalog of Twentieth-Century Art Songs for Voice and Piano

Edited by Maya Hoover

Publication Year: 2010

A reference guide to the vast array of art song literature and composers from Latin America, this book introduces the music of Latin America from a singer's perspective and provides a basis for research into the songs of this richly musical area of the world. The book is divided by country into 22 chapters, with each chapter containing an introductory essay on the music of the region, a catalog of art songs for that country, and a list of publishers. Some chapters include information on additional sources. Singers and teachers may use descriptive annotations (language, poet) or pedagogical annotations (range, tessitura) to determine which pieces are appropriate for their voices or programming needs, or those of their students. The guide will be a valuable resource for vocalists and researchers, however familiar they may be with this glorious repertoire.

Published by: Indiana University Press

Series: Indiana Repertoire Guides

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pp. ix-x

As I sat down to gather my thoughts before embarking on this voluminous publication, I asked myself what I as a singer would want to get out of such a source. I came up with the following: to become aware of new Latin American song repertoire, to be able to find it, and then to be able to understand it. Often overwhelmed by tomes of information on Latin American culture and politics, I wanted to give singers a summary source - a take-off point. While there is no substitute for in-depth musicological, sociological, and political research, there is a need for direction in this quest. ...

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pp. xi-xii

Any book like this one is the product of many minds coming together for one purpose. In this case, it was the invaluable contributions of Stela M. Brand

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pp. xiii-xxiv

This volume will serve as a reference for performers and teachers of vocal music. Its main purpose is to introduce readers to the vast array of art song literature and composers from Latin America, and to give brief information about each song included in the catalog, such as song title, title of cycle (if any), year of composition or publication, poet, language, range, and tessitura. ...

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1 Argentina

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pp. 1-55

With the goal of catapulting their young nation to cultural and economic prominence, the urban elite of nineteenth-century Argentina openly encouraged the study of Western literature, art, and music at home and abroad. No different than their predecessors of the colonial period, they kept current with art music and composition as it was being performed and taught in Europe, particularly in France, Spain, and Italy. ...

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2 Bolivia

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pp. 56-58

Bolivia has a rich musical history with a strong Andean base and a nationalistic style that developed in the early twentieth century. Much of Bolivian art song reflects the broader trend of the native-influenced, European-trained Latin American composer by remaining Romantic in style while incorporating folk elements into its subjects and themes.1 ...

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3 Brazil

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pp. 59-127

According to Maria Sylvia Pinto, the Brazilian art song has existed since at least the eighteenth century.1 The roots of Brazilian art song date from colonial times, when two original matrices developed from opposite streams. One, of European origin, stemmed from the Portuguese moda, favored at the aristocratic salons of Lisbon. ...

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4 Chile

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pp. 128-133

The same trends appear in Chilean music as in Bolivian music: folk and European influences, and later, contemporary tendencies - all of which combine to create a rich body of colorful and diverse music. The Revista musical chilena, a musicological journal devoted entirely to Chile, is probably the most current source of information on this body of work.1 ...

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5 Colombia

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pp. 134-139

The history of art song in Colombia logically mirrors that of other art music. If limited to the development of songs with piano accompaniment during the nineteenth and twentieth centuries, the Colombian art song displays the same stylistic features found in early Romantic music: nationalistic tendencies, chromatically enhanced musical writing of the late nineteenth century, ...

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6 Costa Rica

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pp. 140-147

Art music in Costa Rica before the nineteenth century was primarily used in religious worship as part of Catholicism.1 Native Costa Rican composers first began composing art music in the nineteenth century, and by the second half of the century, the musical life of Costa Rica was largely shaped by European influences. ...

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7 Cuba

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pp. 148-154

It was during the transition from the eighteenth to the nineteenth century that a distinctly Cuban music, although influenced by Spain and Africa, began to develop.1 During this time, Cuba was host to performances of zarzuela and opera (crucial to the development of Cuban song), and concert music became increasingly popular as composer Manuel Saumell (1817–1870) began writing the first examples of Cuban art music.2 ...

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8 Dominican Republic

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pp. 155-156

The Dominican Republic, Cuba, and Puerto Rico are often designated as “Caribbean Latin America,” and, especially in discussions about music, are kept separate from the rest of the islands on the basis of their predominant use of the Spanish language. While it makes sense to divide the Caribbean according to gross cultural differences, over time the smaller islands have become marginalized and are rarely included in studies of music from Latin America. ...

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9 Ecuador

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pp. 157-158

According to author John L. Walker, the main barriers to the success of art music in Ecuador are a lack of government support and the overall poverty from which the composers come, a lack of performing forces, and a lack of music publishing.1 Composers in Ecuador can be classified in several ways, although the most common seems to be according to generation.2 Most are nationalistic in the sense that they strive for a voice that is specifically “Ecuadorian,” ...

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10 El Salvador

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pp. 159-161

El Salvador is sorely under-represented in the existing literature. Although several attempts have been made to correct this problem, there remains a noticeable gap in the area of research and published compositions. A committee was established in 1942 with the hopes of rectifying this situation; however, the results were unsatisfactory. A further attempt was made by Mar

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11 Guatemala

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pp. 162-165

Before the Spanish conquest, Guatemala was a part of the heart of Mayan civilization. Mayans still occupy half of Guatemala, maintaining the traditions of the Mayan religion. Mayan music is an integral part of the culture, and musical events center around a calendar that combines dates from the Roman Catholic religion with Mayan agricultural cycles. ...

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12 Haiti

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pp. 166-173

The development of the Haitian m

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13 Honduras

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p. 174-174

There is little evidence of art music in Honduras. In reference works, Honduras is left out, and there seems to be little evidence on internet sources; in fact, the Latin American Network Information Center (LANIC) does not have one link to anything related to Honduras. Slonimsky covers the country in five paragraphs, surmising that there is little professional activity and that the country’s musical life is sustained mainly by military bands and popular music.1 ...

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14 Jamaica

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pp. 175-176

Searches for sources on Jamaican music will generally lead to information on the popular genre of reggae. However, classical music by Jamaican composers, while difficult to find, does exist. Although the findings on art songs by Jamaican composers thus far are admittedly few, there is evidence of activity, and several internet sources will lead ambitious singers to more information. ...

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15 Mexico

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pp. 177-187

Prior to the twentieth century, art music in Mexico was influenced by Italian opera and characterized by salon-style compositions, especially piano pieces incorporating national dances and songs.1 What followed was a plethora of important and prolific composers, each playing a valuable part not only in Mexican music itself, but also with regard to the reception of Mexican music in the larger world. ...

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16 Nicaragua

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pp. 188-189

Nicaragua is another Central American country virtually left off of the publication map with respect to art music. Rich in folk history, it is home to Maya and Quich

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17 Panama

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pp. 190-191

The native dances and songs of Panama are as diverse as its people - from the indigenous and African tribes of the jungle and the coast to those who live in the cosmopolitan center of Panama City.1 Most indigenous Panamanian music retains elements similar to those found in pre-Colombian music, and is as deeply rooted in cultural and religious or ritual meaning as the music of many Andean cultures.2 ...

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18 Paraguay

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pp. 192-193

Paraguay, like the rest of the countries in South America, has a complicated and fascinating history - even its isolated, land-locked status was not enough to keep it safe from colonization. Although the physical evidence of indigenous musical life is relatively sparse due to the nomadic nature of the people, careful records were kept in the seventeenth century by the incoming Jesuits, who documented how they used music to convert the native population.1 ...

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19 Peru

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pp. 194-197

The development of Peruvian art song in the twentieth century is strongly tied to the compositional outputs of Peruvian composers Cárlos Sánchez Málaga (1904–1995), Theodoro Valcárcel (1900–1942), Roberto Carpio Valdés (1900–1986), French-Belgian composer Andrés Sas (1900–1967), and German composer Rudolph Holzmann (1910–1992). Also important from previous generations are Peruvian Luis Duncker Lavalle (1874–1922) and Italian Renzo Bracesco (1888–1982). ...

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20 Puerto Rico

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pp. 198-201

With an ethnographic history similar to that of Cuba and the Dominican Republic, Puerto Rico has a diverse cultural composition.1 Formerly a colony of Spain, it is now a commonwealth of the United States, although it maintains its own strong national identity and Spanish remains the primary language. It is important to note that there is a passionate nationalistic movement for independence in Puerto Rico regarding its status with the United States.2 ...

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21 Uruguay

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pp. 202-206

As in other countries in Latin America, the nineteenth-century musical scene in Uruguay was primarily dominated by Italian opera and other Europe musical genres.1 As nationalism became an important factor in the twentieth century, Uruguayan music continued to follow broader trends in Latin American art music, specifically the incorporation of folklore elements within a European harmonic framework. ...

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22 Venezuela

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pp. 207-212

An overview of Venezuelan art song in the twentieth century must begin with Vicente Emilio Sojo (1887–1974) and Juan Bautista Plaza (1898–1965), who were primarily responsible for the nationalist movement in Venezuela that had begun ten years earlier in other parts of Latin America. Both pedagogues and composers, they drew their inspiration from Afro-Venezuelan and Andean folk songs, ...

Appendix A: List of Countries and Regions in Latin America

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p. 213-213

Appendix B: Statistics by Geographic Region

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pp. 214-223

Appendix C: List of Publishers

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pp. 224-234

Appendix D: List of Suggested Repertoire

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pp. 235-238


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pp. 239-252


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pp. 253-266

List of Contributors

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pp. 267-268

Index of General Subjects and Song Composers

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pp. 269-274

Index of Poets and Text Sources

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pp. 275-289

Index of Song and Song Cycle Titles

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pp. 290-339

Index of Tessituras and Voice Types

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pp. 340-343

E-ISBN-13: 9780253003966
E-ISBN-10: 0253003962
Print-ISBN-13: 9780253353825

Page Count: 368
Publication Year: 2010

Series Title: Indiana Repertoire Guides