,.......

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,

----

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.

ANDEAN COUNTRIES
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 coverage 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 mid2000S (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

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 temporality 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 community in the digital home studio:
Carnival, creativity, and indigenous music
video production in the Bolivian Andes.
(Pop. Music/Cambridge, 30:2, May 2011,
p. 209-22 6, 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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Music: Andean Countries: Colombia / 551

contribution to the emerging literature on
indigenous media.
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 independencia. 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.

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. Historia 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. Barranquilla, 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 Festival 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 cantares 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 pasi110 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.

,nal
!20th
Spring/

2494 Aragon, Mario and Juan Gomez

Rojas. Un jibarito y el Callao: breve
imagen de Hector Lavoe. Callao, Peru: G6mez & 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.

PERU

tne
sthe
.ow
matic
appears
Vhose
music?:
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rniv.
ies in

cl
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ough
Ecuadin
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nay
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2495 Borras, Gerard. Lima: el vals y la

canci6n criolla, 1900-1936. Lima: lnstituto 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

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 I I 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 cambio 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 Editorial 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
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criollo 1m
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2502 Me
elo
and ina y I
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Ap
sis of the,
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vi an and f
the 20th c
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2503 Mel
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Music: Andean Countries: Peru / 555

e recent
ld electric
:te pres~a tipica
ch and
rmance
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tanscripusicians
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Ipanion
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lc Eloy
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"imera,1J
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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. 61n 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,

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 etnomusicologia 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 troubadours 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

sho'
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Music: Andean Countries: Peru / 557

f-

; in

should be required reading for anyone working in Peru and the Andes.

}n

2509 Tucker, Joshua. Permitted Indians

u,

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.

ccess
~and

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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/

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

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 cuademos de musica de la logia Unanimidad 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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Music: Southern Cone / 559

<www.musicaenclave.com/articlespdf/
meseron.pdb)
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 conductor 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-

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 Sistemal l in
Venezuela, from Jose Abreu's first rehearsal
with I I 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.

SOUTHERN CONE
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 musical 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-