In lieu of an abstract, here is a brief excerpt of the content:

ix Preface 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. How does one study the history surrounding a Bolivian art song from the mid-twentieth century? Which historical sources should one consider? Upon which political events should one focus? And, just as pertinent, where does one begin looking to understand the complicated ethnomusicological background of the country? This book is intended to begin fulfilling that need. This volume is also intended to serve as a research guide by singers and for singers. It will help singers and teachers find out who is writing Latin Ameri­can art song, what is being written, where the music can be located, and how to get it. Composers and their works are listed according to theircountryoforigin,andsingersorteachersmayusethedescriptive annotations (language, poet) or pedagogical annotations (range, tessitura) given with each song to decide whether or not repertoire is appropriate for consideration for their voices or programming needs. This is not meant to be a definitive work, as such a volume would take decades to complete, but rather a representative one. It is not intended to be a musicological work, but it does aim to serve as a guide for more in-depth study. preface x There are basically three types of song repertoire included in this catalog, ranging from easily accessible to more challenging to obtain, depending on the desired level of research. These three types are as­follows: 1. Music that is readily available for purchase or study within the United States. This category includes music that is immediately available for purchase from popular classical music sources such as T.I.S. MusicGroup, Hal Leonard, Amazon.com, and other online music sources such as Classical Vocal Repertoire, alma.usa.com, Sheet Music Plus, and so on, as well as music that is available for study or research at various U.S. libraries. This includes the Latin Ameri­can Music Center (LAMC) at Indiana University, which houses many of the scores in this catalog that are issued by Latin Ameri­can and European publishers. The LAMC is a good place to go to examine repertoire in person before contacting international publishing houses to acquire the scores. To determine whether or not a song is available in the United States from a source other than the LAMC, readers should check the WorldCat or Library of Congress online databases. 2. Music that is accessible through libraries or collections in Latin America. These might include holdings at one of the national university libraries, or collections that may be accessed via an inter­ national database, such as the online catalog maintained by the Federal University of Minas Gerais (Universidade Federal de­Minas Gerais) in Brazil. 3. Music that is available directly from composers or other new music sources. For these acquisitions, it is most useful to contact research centers such as the LAMC, the Latin Ameri­can Art Song Alliance (LAASA), or other new music resources such as The Living Composers Project website for help. Indeed, there is still a lot of work to do. There are conservatories and libraries to visit, collections to uncover, composers to discover, and songs to bring to the surface. However, it is our hope that this guide will serve as a good starting point, and that it will inspire the incorporation of Latin Ameri­can art song into the repertoire and recital programs of singers throughout the United States and beyond. ...

Share