OXFORD UNIVERSITY PRESS

Experimentalisms in Practice: Music Perspectives from Latin America

ISBN : 9780190842758

Price(incl.tax): 
¥6,149
Author: 
Ana R. Alonso-Minutti; Eduardo Herrera; Alejandro L. Madrid
Pages
368 Pages
Format
Paperback
Size
156 x 235 mm
Pub date
Feb 2018

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Experimentalisms in Practice explores the multiple sites in which experimentalism emerges and becomes meaningful beyond Eurocentric interpretative frameworks. Challenging the notion of experimentalism as defined in conventional narratives, contributors take a broad approach to a wide variety of Latin@ and Latin American music traditions conceived or perceived as experimental. The conversation takes as starting point the 1960s, a decade that marks a crucial political and epistemological moment for Latin America; militant and committed aesthetic practices resonated with this moment, resulting in a multiplicity of artistic and musical experimental expressions. Experimentalisms in Practice responds to recent efforts to reframe and reconceptualize the study of experimental music in terms of epistemological perspective and geographic scope, while also engaging traditional scholarship. This book contributes to the current conversations about music experimentalism while providing new points of entry to further reevaluate the field.

Index: 

List of Figures; List of Music Examples; List of Tables; List of Contributors; Acknowledgements; About the Companion Website; Chapter 1. The Practices of Experimentalism in Latin@; and Latin American Music: An Introduction; by Ana R. Alonso-Minutti, Eduardo Herrera, and; Alejandro L. Madrid; I. Centers and Institutions; Chapter 2. That's Not Something to Show in a Concert: Experimentation and Legitimacy at the Centro Latinoamericano de Altos Estudios Musicales; by Eduardo Herrera; Chapter 3. Experimental Alternatives: Institutionalism, Avant-gardism, and Popular Music at the Margins of the Cuban Revolution; by Susan Thomas; II. Beyond the Limits of Hybridity; Chapter 4. I Go against the Grain of Your Memory: Iconoclastic Experiments with Traditional Sounds in Northeast Brazil; by Dan Sharp; Chapter 5. Peruvian Cumbia at the Theoretical Limits of Techno-Utopian Hybridity; by Joshua Tucker; Chapter 6. Experimentalism as Estrangement: Cafe Tacvba's Reves/Yosoy; by Alejandro L. Madrid and Pepe Rojo; III. Anti-Colonial Practices; Chapter 7. Gatas y Vatas: Female Empowerment and Community-Oriented Experimentalism; by Ana R. Alonso-Minutti; Chapter 8. Noise, Sonic Experimentation, and Interior Coloniality in Costa Rica; by Susan Campos Fonseca; IV. Performance, Movements, and Scenes; Chapter 9. We Began from Silence: Toward a Genealogy of Free Improvisation in Mexico City: Atras del Cosmos at Teatro El Galeon, 1975-1977; by Tamar Barzel; Chapter 10. Experimentation and Improvisation in Bogota at the End of the Twentieth Century; by Rodolfo Acosta; Chapter 11. Experimental Music and the Avant-garde in Post-1959 Cuba: Revolutionary Music for the Revolution; by Marysol Quevedo; Chapter 12. Performance, Resistance, and the Sounding of Public Space: Movimiento Musica Mas in Buenos Aires, 1969-73; by Andrew Raffo Dewar; Chapter 13. Afterword: Locating Hemispheric Experimentalisms; by Benjamin Piekut; Bibliography

About the author: 

Ana R. Alonso-Minutti is a music scholar who combines musicological and ethnomusicological inquiries into the study of contemporary musical practices across the Americas. Her research focuses on experimental and avant-garde expressions, music traditions from Mexico and the US-Mexico border, and music history pedagogy. She has presented her work in the Americas and Europe and has published her research in English and Spanish venues. She is assistant professor of music and faculty affiliate of the Latin American and Iberian Institute at the University of New Mexico.; Eduardo Herrera is assistant professor in ethnomusicology and music history at Rutgers, The State University of New Jersey. He specializes in contemporary musical practices from Latin America. His research interests include music and gender, art and the legitimation of elites, and music during the Cold War. He has done historical and ethnographic research in topics including Argentinean and Uruguayan avant-garde music, masculinity and violence in participatory chanting in soccer stadiums, and music and postcoloniality in Latin America.; Alejandro L. Madrid is a music scholar whose research focuses on the intersection of modernity, tradition and globalization in music and expressive culture from Mexico, the U.S.-Mexico border, and the circum-Caribbean. His books have received the AMS's Robert M. Stevenson and Ruth A. Solie awards, the Bela Bartok Award from the ASCAP Foundation, the Mexico Humanities Book award from LASA, IASPM's Woody Guthrie Book Award, and the Casa de las Americas Musicology Prize. He is professor of musicology and ethnomusicology at Cornell University.

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