Project MUSE®: Latin American Music Review - Latest Articles
https://muse.jhu.edu/journal/113
Project MUSE®: Latest articles in Latin American Music Review.daily12026-05-15T00:00:00-05:00text/htmlen-USVol. 22 (2001) through current issueLatest Articles: Latin American Music ReviewTWOProject MUSE®Latin American Music Review1536-01990163-0350Latest articles in Latin American Music Review. Feed provided by Project MUSE®¡Maldito coronavirus! Mapping Latin American Musical Responses to the Pandemic Moment by Daniel S. Margolies and J. A. Strub (review)
https://muse.jhu.edu/article/976916
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¡Maldito coronavirus!, literally “Damned coronavirus!,” is quite the title for an academic monograph. Published nearly five years after the global onset of the COVID-19 pandemic, this thorough study of how crisis-wracked music cultures employed musical creativity and navigated digital ecosystems is an early intervention on what is likely to become a torrent: research on culture in times of coronavirus. The authors, a historian and an ethnomusicologist, explore various elements and characteristics of these ecosystems—performers, listeners, devices, monetization, interconnectivity, cultural and social trends, ethics, politics, community—all while asserting humankind’s need to express itself through music. The book’s
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/113/image/coversmall¡Maldito coronavirus! Mapping Latin American Musical Responses to the Pandemic Moment by Daniel S. Margolies and J. A. Strub (review)2025-12-04text/htmlen-US¡Maldito coronavirus! Mapping Latin American Musical Responses to the Pandemic Moment by Daniel S. Margolies and J. A. Strub (review)2025-12-042025TWOProject MUSE®103362026-05-15T00:00:00-05:002025-12-04Testigos del fin del mundo: Música independiente iberoamericana en la segunda década del siglo XXI by Javier Rodríguez (review)
https://muse.jhu.edu/article/976917
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Testigos del fin del mundo es también el título del álbum de la banda Capullo lanzado en el 2012. Originaria de Aguascalientes, al norte de México, el grupo musical hace una referencia a las teorías basadas en el calendario maya y el final del gran ciclo, un periodo de trece baktunes; cada baktún es una unidad de medida de 144.000 días. Desde unos años atrás se hilvanaba en el imaginario colectivo la idea de una catástrofe que terminaría con la humanidad el 21 de diciembre del 2012. Sin embargo, sin catástrofe y sin fin del mundo, aquí seguimos; yo, un individuo sentado frente al escritorio a unos 4.400 días de distancia de la ominosa fecha, escuchando el álbum de Capullo, los sintetizadores y las letras que evocan
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/113/image/coversmallTestigos del fin del mundo: Música independiente iberoamericana en la segunda década del siglo XXI by Javier Rodríguez (review)2025-12-04text/htmlen-USTestigos del fin del mundo: Música independiente iberoamericana en la segunda década del siglo XXI by Javier Rodríguez (review)2025-12-042025TWOProject MUSE®81352026-05-15T00:00:00-05:002025-12-04Music and Identity in Venezuela edited by Adriana Ponce (review)
https://muse.jhu.edu/article/976918
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Throughout this eleven-chapter volume featuring twelve authors, the editor Adriana Ponce curates an expansive selection of case studies about music in Venezuela that are united by a common interest on identity formation and expression. Taken together, these chapters discuss tonada llanera, aguinaldos, parranda, processions and dances for Corpus Christi celebrations, Pumé worship chants, Wayuu jayeechi, the Venezuelan national anthem, Italian opera in mid-nineteenth-century Caracas, the nationalist music movement, the making of Teresa Carreño into a national figure, and mid-twentieth-century Venezuelan composers’ use of avant-garde languages. Without being entirely comprehensive, the authors successfully present a
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/113/image/coversmallMusic and Identity in Venezuela edited by Adriana Ponce (review)2025-12-04text/htmlen-USMusic and Identity in Venezuela edited by Adriana Ponce (review)2025-12-042025TWOProject MUSE®91972026-05-15T00:00:00-05:002025-12-04Silvestre Revueltas: Sounds of a Political Passion by Roberto Kolb-Neuhaus (review)
https://muse.jhu.edu/article/976919
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Roberto Kolb-Neuhaus’s volume on Mexican modernist composer Silvestre Revueltas is an impressive undertaking, spanning over seven hundred pages that weave together music analysis, cultural politics, and a consideration of Revueltas’s personal history. In this wide-ranging discussion—the latest in a long career of scholarship on Revueltas—Kolb-Neuhaus argues for a politically engaged reading of the composer, one that draws together irony and humor with deep political commitments, frustration, and a sense of close connection with the working class in postrevolutionary Mexico.Silvestre Revueltas’s music is full of twists and turns that mix a wry sound with folkloric and high-modernist elements, a blend that deserves
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/113/image/coversmallSilvestre Revueltas: Sounds of a Political Passion by Roberto Kolb-Neuhaus (review)2025-12-04text/htmlen-USSilvestre Revueltas: Sounds of a Political Passion by Roberto Kolb-Neuhaus (review)2025-12-042025TWOProject MUSE®99302026-05-15T00:00:00-05:002025-12-04Celia en Cuba (1925–1962) by Rosa Marquetti Torres (review)
https://muse.jhu.edu/article/976920
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En su afán por devolver a la luz la etapa profesional menos conocida de la colosal Celia Cruz, Rosa Marquetti, filóloga, musicógrafa y productora cubana, deshiela de un plumazo décadas de silencio, censura y ostracismo en la historiografía musical de la mayor de las islas caribeñas. Reconocida por la autora como “figura femenina más importante y universalmente trascendente de la música popular de la nación” (15), así como “uno de los eslabones principales en la historia cultural de la mujer afrocubana” (15), La guarachera de Cuba emerge por las páginas de esta voluminosa publicación como protagonista troncal e irrecusable de una de las etapas más efervescentes de la música popular cubana: la de los años 40, 50 e
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/113/image/coversmallCelia en Cuba (1925–1962) by Rosa Marquetti Torres (review)2025-12-04text/htmlen-USCelia en Cuba (1925–1962) by Rosa Marquetti Torres (review)2025-12-042025TWOProject MUSE®95222026-05-15T00:00:00-05:002025-12-04La música independiente argentina como configuración histórica: De fenómeno restringido a entramado masivo
https://muse.jhu.edu/article/976921
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El uso del término independiente en la música en Argentina despuntó a fines de los años 80, en un proceso que responde tanto a desarrollos locales como al diálogo con lo que sucedía en países considerados clave en el surgimiento de novedades en la música popular, como Estados Unidos e Inglaterra. En Argentina, en las últimas dos décadas, la música independiente ha ganado relevancia y generado debates sociales y académicos.1 Se considera que independiente en este contexto se refiere a aspectos laborales de los músicos, a un sector particular de la producción musical, a una cultura de producción distintiva, a un valor en disputa y a una configuración histórica (Boix 2023; Lamacchia 2012; Quiña 2020; Vecino 2011).Este
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/113/image/coversmallLa música independiente argentina como configuración histórica: De fenómeno restringido a entramado masivo2025-12-04text/htmlen-USLa música independiente argentina como configuración histórica: De fenómeno restringido a entramado masivo2025-12-042025TWOProject MUSE®1348092026-05-15T00:00:00-05:002025-12-04Músicas iberoamericanas interconectadas: Caminos, circuitos y redes edited by Javier Marín-López, Montserrat Capelán, and Paulo Castagna (review)
https://muse.jhu.edu/article/976922
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A coletânea Músicas iberoamericanas interconectadas: Caminos, circuitos y redes traz uma seleção de textos resultantes do congresso homônimo, realizado em 2021 na Universidade de Santiago de Compostela.A introdução, escrita a seis mãos pelos editores, reitera a ideia central do evento, enfatizando a noção de uma “rede de redes” transnacional e iberoamericana. Segundo a chamada para o congresso, no qual teve origem a publicação, o objetivo seria a superação de determinadas barreiras artificiais, tanto disciplinares (musicologia, etnomusicologia e musicologia histórica, práticas interpretativas) quanto culturais (cultura musical luso-brasileira e hispano-americana), que marcam os estudos sobre música em âmbito
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/113/image/coversmallMúsicas iberoamericanas interconectadas: Caminos, circuitos y redes edited by Javier Marín-López, Montserrat Capelán, and Paulo Castagna (review)2025-12-04text/htmlen-USMúsicas iberoamericanas interconectadas: Caminos, circuitos y redes edited by Javier Marín-López, Montserrat Capelán, and Paulo Castagna (review)2025-12-042025TWOProject MUSE®227192026-05-15T00:00:00-05:002025-12-04A Brazilian Ode to Joy: A Musical Nexus Between False Universalism and Elite Culture
https://muse.jhu.edu/article/976923
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All Together: A Global Ode to Joy (Todos juntos: Uma ode global à alegria) was a project of the São Paulo State Symphony Orchestra (Osesp) in partnership with Carnegie Hall in New York. Conceived by Marin Alsop, the conductor of Osesp from 2013 to 2019, it was her farewell concert.The project was intended to celebrate, in 2020, the 250th anniversary of Beethoven’s birth, with adapted versions of the Ninth Symphony sung in the native language of nine different countries in concerts on six continents, starting with Brazil.1 In addition to the text, adaptations of the symphony were also conceived in which musical works from each of the countries would be interspersed between the movements of the Ninth Symphony. In
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/113/image/coversmallA Brazilian Ode to Joy: A Musical Nexus Between False Universalism and Elite Culture2025-12-04text/htmlen-USA Brazilian Ode to Joy: A Musical Nexus Between False Universalism and Elite Culture2025-12-042025TWOProject MUSE®1028622026-05-15T00:00:00-05:002025-12-04Popular Music in Brazil by Martha Tupinambá Ulhôa, Leonardo De Marchi, and Renato Pereira Torres Borges (review)
https://muse.jhu.edu/article/976924
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Popular Music in Brazil, published by Cambridge University Press, is a significant contribution to Brazilian music studies, proving both timely and essential for contemporary academic research. The work’s particular value lies in its being one of the few comprehensive English-language studies authored by Brazilian scholars about their own musical traditions. This insider viewpoint addresses a crucial gap in the literature, offering nuanced interpretations that foreign researchers like Chris McGowan—despite valuable contributions in works such as The Brazilian Sound—cannot provide with equivalent cultural intimacy.The book’s significance extends beyond its authorship. Its interdisciplinary approach, connecting
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/113/image/coversmallPopular Music in Brazil by Martha Tupinambá Ulhôa, Leonardo De Marchi, and Renato Pereira Torres Borges (review)2025-12-04text/htmlen-USPopular Music in Brazil by Martha Tupinambá Ulhôa, Leonardo De Marchi, and Renato Pereira Torres Borges (review)2025-12-042025TWOProject MUSE®80022026-05-15T00:00:00-05:002025-12-04Asociatividad femenina en el rap de la ciudad de Concepción, Chile: El caso del festival y grupo femenino de rap Expresión FEM
https://muse.jhu.edu/article/976925
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En el mundo de la música subyace una estructura de género caracterizada por la prevalencia de criterios androcéntricos (Abarca-Molina 2016). Investigaciones recientes en Chile han arrojado luz sobre los diversos obstáculos que enfrentan las mujeres al intentar hacerse camino en áreas como la composición y la interpretación, así como en roles técnicos de producción y apoyo musical (Pinochet Cobos y Valdovinos 2021; Pinochet Cobos et al. 2021). Pero en este panorama adverso destaca también cómo las músicas chilenas están enfrentando las inequidades de género a través de estrategias, como así representa la asociatividad femenina.El fenómeno de los espacios de mujeres constituye una tendencia en la música chilena
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/113/image/coversmallAsociatividad femenina en el rap de la ciudad de Concepción, Chile: El caso del festival y grupo femenino de rap Expresión FEM2025-12-04text/htmlen-USAsociatividad femenina en el rap de la ciudad de Concepción, Chile: El caso del festival y grupo femenino de rap Expresión FEM2025-12-042025TWOProject MUSE®1376542026-05-15T00:00:00-05:002025-12-04La conquista discográfica de América Latina (1903–1926) by Sergio Ospina Romero (review)
https://muse.jhu.edu/article/976926
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Sergio Ospina Romero’s La conquista discográfica de América Latina (1903–1926) is a detailed account of how the Victor Talking Machine Company secured its influence in Latin America during the acoustic era through expeditions focused on recording local music. The book builds on Ospina Romero’s previous work on early twentieth-century recording and technologies, such as his work on player pianos in Colombia as “technological intruders” and jazz in the Caribbean’s perception as “modern entertainment.”1 Conquista tells a “history from below” in which the author focuses on the quotidian and mundane to illustrate the improvisatory and muddled nature of cultural imperialism in action.Ospina Romero sets out to create a
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/113/image/coversmallLa conquista discográfica de América Latina (1903–1926) by Sergio Ospina Romero (review)2025-12-04text/htmlen-USLa conquista discográfica de América Latina (1903–1926) by Sergio Ospina Romero (review)2025-12-042025TWOProject MUSE®94942026-05-15T00:00:00-05:002025-12-04