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if ($a.is_logged_in() && $viewedUser.is_current_user()) { $('body').addClass('profile-viewed-by-owner'); } $socialProfiles = [{"id":37613220,"link":"https://hcommons.org/members/almadrid68/","name":"Humanities Common","link_domain":"hcommons.org","icon":"//www.google.com/s2/u/0/favicons?domain=hcommons.org"},{"id":40580466,"link":"https://sites.google.com/view/alejandrolmadridgonzalez/home","name":"Homepage","link_domain":"sites.google.com","icon":"//www.google.com/s2/u/0/favicons?domain=sites.google.com"}]</script><div id="js-react-on-rails-context" style="display:none" data-rails-context="{"inMailer":false,"i18nLocale":"en","i18nDefaultLocale":"en","href":"https://harvard.academia.edu/AlejandroLMadrid","location":"/AlejandroLMadrid","scheme":"https","host":"harvard.academia.edu","port":null,"pathname":"/AlejandroLMadrid","search":null,"httpAcceptLanguage":null,"serverSide":false}"></div> <div class="js-react-on-rails-component" style="display:none" data-component-name="ProfileCheckPaperUpdate" data-props="{}" data-trace="false" data-dom-id="ProfileCheckPaperUpdate-react-component-99520483-9ee4-4bbe-ac45-0c16cbef3b80"></div> <div id="ProfileCheckPaperUpdate-react-component-99520483-9ee4-4bbe-ac45-0c16cbef3b80"></div> <div class="DesignSystem"><div class="onsite-ping" id="onsite-ping"></div></div><div class="profile-user-info DesignSystem"><div class="social-profile-container"><div class="left-panel-container"><div class="user-info-component-wrapper"><div class="user-summary-cta-container"><div class="user-summary-container"><div class="social-profile-avatar-container"><img class="profile-avatar u-positionAbsolute" alt="Alejandro L. Madrid" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/1618313/564421/703133/s200_alejandro.madrid.jpg" /></div><div class="title-container"><h1 class="ds2-5-heading-sans-serif-sm">Alejandro L. Madrid</h1><div class="affiliations-container fake-truncate js-profile-affiliations"><div><a class="u-tcGrayDarker" href="https://harvard.academia.edu/">Harvard University</a>, <a class="u-tcGrayDarker" href="https://harvard.academia.edu/Departments/Music/Documents">Music</a>, <span class="u-tcGrayDarker">Faculty Member</span></div></div></div></div><div class="sidebar-cta-container"><button class="ds2-5-button hidden profile-cta-button grow js-profile-follow-button" data-broccoli-component="user-info.follow-button" data-click-track="profile-user-info-follow-button" data-follow-user-fname="Alejandro L." data-follow-user-id="1618313" data-follow-user-source="profile_button" data-has-google="false"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">add</span>Follow</button><button class="ds2-5-button hidden profile-cta-button grow js-profile-unfollow-button" data-broccoli-component="user-info.unfollow-button" data-click-track="profile-user-info-unfollow-button" data-unfollow-user-id="1618313"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">done</span>Following</button></div></div><div class="user-stats-container"><a><div class="stat-container js-profile-followers"><p class="label">Followers</p><p class="data">2,423</p></div></a><a><div class="stat-container js-profile-followees" data-broccoli-component="user-info.followees-count" data-click-track="profile-expand-user-info-following"><p class="label">Following</p><p class="data">354</p></div></a><a><div class="stat-container js-profile-coauthors" data-broccoli-component="user-info.coauthors-count" data-click-track="profile-expand-user-info-coauthors"><p class="label">Co-authors</p><p class="data">7</p></div></a><a href="/AlejandroLMadrid/mentions"><div class="stat-container"><p class="label">Mentions</p><p class="data">1</p></div></a><span><div class="stat-container"><p class="label"><span class="js-profile-total-view-text">Public Views</span></p><p class="data"><span class="js-profile-view-count"></span></p></div></span></div><div class="user-bio-container"><div class="profile-bio fake-truncate js-profile-about" style="margin: 0px;">Alejandro L. Madrid is the Walter W. Naumburg Professor of Music at Harvard University. He is a cultural theorist of sound and music working in Latin American and Latinx studies. His eight books –five monographs, a textbook, and three edited volumes– and a host of distinguished articles, have established him as one of the foremost musicologists of his generation and one of the leading scholars in Ibero-American music studies. His five monographs, Tania León’s Stride. A Polyrhythmic Life (University of Illinois Press, 2021), In Search of Julián Carrillo and Sonido 13 (Oxford University Press, 2015), Danzón. Circum-Caribbean Dialogues in Music and Dance (with Robin Moore; Oxford University Press, 2013), Sounds of the Modern Nation. Music, Culture, and Ideas in Post-Revolutionary Mexico (Temple University Press, 2009), and Nor-Tec Rifa! Electronic Dance Music from Tijuana to the World (Oxford University Press, 2008), as well as his edited volume Transnational Encounters. Music and Performance at the U.S.-Mexico Border (Oxford University Press, 2012), have all received top awards from organizations like the American Musicological Society (AMS), the Latin American Studies Association, the International Association for the Study of Popular Music (IASPM), the ASCAP Foundation, the Society for Ethnomusicology (SEM), and the International Latino Book Awards. He has been awarded the Humboldt Forschungspreis, the Dent Medal, given by the International Musicological Society and the Royal Musical Association for “outstanding contributions to musicology,” as well as Cuba’s Premio de Musicología Casa de las Américas, and Chile’s Premio de Musicología Samuel Claro Valdés.<br /><br />His work has been described as a “model for future works that aim to cross boundaries between musicology and ethnomusicology” and as “scholarship that intervenes in a number of important critical conversations.” Madrid’s scholarly output includes innovative and influential work on technology and cyber-communities, alternative modernisms, postcolonial musical interventions, nationalism and postnationalism, embodied culture, the materiality of musical instruments, and the musical performance of masculinities. His work engages popular, folk, and art musics from multi-methodological perspectives, making him one of today’s most effective scholars crossing over and often blurring the disciplinary boundaries between historical musicology, ethnomusicology, popular music studies, and cultural studies.<br /><br />His research has been funded by the John Simon Guggenheim Memorial Foundation, the American Council of Learned Societies, the J. William Fulbright Scholarship Board, and the Ford Foundation, among other institutions.<br /><br />Apart from his remarkable and extensive award-winning publication record, Professor Madrid has served the scholarly community as editor of Oxford University Press’s Currents in Latin American and Iberian Music series, co-editor of Cambridge University Press’ journal Twentieth-Century Music, as well as in the Executive Committee of IASPM, the Board of Directors of the AMS and the SEM, and in the editorial board of several international scholarly journals and publishing projects. Furthermore, Professor Madrid is frequently invited as an expert commentator to national and international media outlets, and acted as music advisor to acclaimed filmmaker Peter Greenaway, whose film, Eisenstein in Guanajuato (2015), is set in early 1930s Mexico.<br /><div class="js-profile-less-about u-linkUnstyled u-tcGrayDarker u-textDecorationUnderline u-displayNone">less</div></div></div><div class="ri-section"><div class="ri-section-header"><span>Interests</span><a class="ri-more-link js-profile-ri-list-card" data-click-track="profile-user-info-primary-research-interest" data-has-card-for-ri-list="1618313">View All (35)</a></div><div class="ri-tags-container"><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="1618313" href="https://www.academia.edu/Documents/in/Critical_Musicology"><div id="js-react-on-rails-context" style="display:none" data-rails-context="{"inMailer":false,"i18nLocale":"en","i18nDefaultLocale":"en","href":"https://harvard.academia.edu/AlejandroLMadrid","location":"/AlejandroLMadrid","scheme":"https","host":"harvard.academia.edu","port":null,"pathname":"/AlejandroLMadrid","search":null,"httpAcceptLanguage":null,"serverSide":false}"></div> <div class="js-react-on-rails-component" style="display:none" data-component-name="Pill" data-props="{"color":"gray","children":["Critical Musicology"]}" data-trace="false" data-dom-id="Pill-react-component-3da2dcf7-fe27-43e7-8fef-336935f0ae9d"></div> <div id="Pill-react-component-3da2dcf7-fe27-43e7-8fef-336935f0ae9d"></div> </a><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="1618313" href="https://www.academia.edu/Documents/in/Ethnomusicology"><div class="js-react-on-rails-component" style="display:none" data-component-name="Pill" data-props="{"color":"gray","children":["Ethnomusicology"]}" data-trace="false" data-dom-id="Pill-react-component-d1d8a069-ec28-4f7a-8fe8-7351f3c4e6f1"></div> <div id="Pill-react-component-d1d8a069-ec28-4f7a-8fe8-7351f3c4e6f1"></div> </a><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="1618313" href="https://www.academia.edu/Documents/in/Microtonal_Music"><div class="js-react-on-rails-component" style="display:none" data-component-name="Pill" data-props="{"color":"gray","children":["Microtonal Music"]}" data-trace="false" data-dom-id="Pill-react-component-a869a37e-4beb-4b3c-8e4d-50f451d01850"></div> <div id="Pill-react-component-a869a37e-4beb-4b3c-8e4d-50f451d01850"></div> </a><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="1618313" href="https://www.academia.edu/Documents/in/Modernism"><div class="js-react-on-rails-component" style="display:none" data-component-name="Pill" data-props="{"color":"gray","children":["Modernism"]}" data-trace="false" data-dom-id="Pill-react-component-7a852f13-fa05-4dd1-9732-11f882fa59e7"></div> <div id="Pill-react-component-7a852f13-fa05-4dd1-9732-11f882fa59e7"></div> </a><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="1618313" href="https://www.academia.edu/Documents/in/Electronic_Dance_Music_Culture_EDMC_"><div class="js-react-on-rails-component" style="display:none" data-component-name="Pill" data-props="{"color":"gray","children":["Electronic Dance Music Culture (EDMC)"]}" data-trace="false" data-dom-id="Pill-react-component-ec3a57ee-9b03-43c7-ab23-5f2183c4e30e"></div> <div id="Pill-react-component-ec3a57ee-9b03-43c7-ab23-5f2183c4e30e"></div> </a></div></div><div class="external-links-container"><ul class="profile-links new-profile js-UserInfo-social"><li class="left-most js-UserInfo-social-cv" data-broccoli-component="user-info.cv-button" data-click-track="profile-user-info-cv" data-cv-filename="MadridCV_REV_2023.pdf" data-placement="top" data-toggle="tooltip" href="/AlejandroLMadrid/CurriculumVitae"><button class="ds2-5-text-link ds2-5-text-link--small" style="font-size: 20px; 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Madrid</h3></div><div class="js-work-strip profile--work_container" data-work-id="104413025"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/104413025/Tania_Le%C3%B3ns_Stride_A_Polyrhythmic_Life"><img alt="Research paper thumbnail of Tania León's Stride. A Polyrhythmic Life" class="work-thumbnail" src="https://attachments.academia-assets.com/104150232/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/104413025/Tania_Le%C3%B3ns_Stride_A_Polyrhythmic_Life">Tania León's Stride. A Polyrhythmic Life</a></div><div class="wp-workCard_item"><span>Tania León's Stride. A Polyrhythmic Life</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Acclaimed composer, sought-after conductor, esteemed educator, tireless advocate for the arts--Ta...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Acclaimed composer, sought-after conductor, esteemed educator, tireless advocate for the arts--Tania León’s achievements encompass but also stretch far beyond contemporary classical music. Alejandro L. Madrid draws on oral history, archival work, and ethnography to offer the first in-depth biography of the artist. Breaking from a chronological account, Madrid looks at León through the issues that have informed and defined moments in her life and her professional works. León’s words become a starting ground--but also a counterpoint--to the accounts of the people in her orbit. What emerges is more than an extraordinary portrait of an artist's journey. It is a story of how a human being reacts to the challenges thrown at her by history itself, be it the Cuban revolution or the struggle for civil and individual rights. <br />Nuanced and multifaceted, Tania León's Stride looks at the life, legacy, and milieu that created and sustained one of the most important figures in American classical music.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="ece3f0063716023943f25c53b664c1c1" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":104150232,"asset_id":104413025,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/104150232/download_file?st=MTczMzAyMzQ2Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="104413025"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="104413025"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 104413025; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=104413025]").text(description); $(".js-view-count[data-work-id=104413025]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 104413025; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='104413025']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 104413025, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "ece3f0063716023943f25c53b664c1c1" } } $('.js-work-strip[data-work-id=104413025]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":104413025,"title":"Tania León's Stride. 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Music Perspectives from Latin America" class="work-thumbnail" src="https://attachments.academia-assets.com/56359341/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/36444846/Experimentalisms_in_Practice_Music_Perspectives_from_Latin_America">Experimentalisms in Practice. Music Perspectives from Latin America</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://harvard.academia.edu/AlejandroLMadrid">Alejandro L. Madrid</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unm.academia.edu/AnaAlonsoMinutti">Ana Alonso-Minutti</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://indiana.academia.edu/EduardoHerrera">Eduardo Herrera</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Experimentalisms in Practice explores the multiple sites in which experimentalism emerges and bec...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">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.<br /><br />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.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="fec5fda3b37bf3b0637d59697fa5d6b9" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":56359341,"asset_id":36444846,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/56359341/download_file?st=MTczMzAyMzQ2Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="36444846"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="36444846"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36444846; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36444846]").text(description); $(".js-view-count[data-work-id=36444846]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 36444846; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='36444846']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 36444846, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "fec5fda3b37bf3b0637d59697fa5d6b9" } } $('.js-work-strip[data-work-id=36444846]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":36444846,"title":"Experimentalisms in Practice. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="13108825"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/13108825/In_Search_of_Juli%C3%A1n_Carrillo_and_Sonido_13"><img alt="Research paper thumbnail of In Search of Julián Carrillo and Sonido 13" class="work-thumbnail" src="https://attachments.academia-assets.com/50957684/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/13108825/In_Search_of_Juli%C3%A1n_Carrillo_and_Sonido_13">In Search of Julián Carrillo and Sonido 13</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In the 1920s, the Mexican composer Julián Carrillo (1875-1965) developed a microtonal system call...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In the 1920s, the Mexican composer Julián Carrillo (1875-1965) developed a microtonal system called El Sonido 13 (The 13th Sound). Although his pioneering role as one of the first proponents of microtonality within the Western art music tradition elevated Carrillo to iconic status among European avant-garde circles in the 1960s and 1970s, his music and legacy have remained largely overlooked by music scholars, critics, and performers. <br /> <br />Confronting this paucity of scholarship on Carrillo and his music, Alejandro L. Madrid goes above and beyond "filling in" the historical record. Combining archival and ethnographic research with musical analysis and cultural theory, Madrid argues that Carrillo and Sonido 13 are best understood as a cultural complex: a network of moments, spaces, and articulations in which Carrillo and his music continuously re-acquire significance and meaning. Thus, Madrid explores Carrillo's music and ideas not only in relation to the historical moments of their inception, but also in relation to the various cultural projects that kept them alive and re-signified them through the beginning of the twenty-first century. Eschewing traditionally linear historical frameworks, In Search of Julián Carrillo and Sonido 13 employs an innovative transhistorical narrative in which past, present, and future are explored dialogically in order to understand the politics of performance and self-representation behind Carrillo and Sonido 13. <br /> <br />In Search of Julián Carrillo and Sonido 13 transforms the traditional genre of the composer study, treating it not as a celebration of "masters" and "masterworks," but as a pointed postcolonial intervention that offers invaluable insight into the politics of cultural exchange, experimentalism, marginality, and cultural capital in twentieth century Mexico.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8da176cfea7be5ebc76c23a634ba059e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":50957684,"asset_id":13108825,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/50957684/download_file?st=MTczMzAyMzQ2Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="13108825"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="13108825"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 13108825; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=13108825]").text(description); $(".js-view-count[data-work-id=13108825]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 13108825; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='13108825']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 13108825, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8da176cfea7be5ebc76c23a634ba059e" } } $('.js-work-strip[data-work-id=13108825]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":13108825,"title":"In Search of Julián Carrillo and Sonido 13","translated_title":"","metadata":{"abstract":"In the 1920s, the Mexican composer Julián Carrillo (1875-1965) developed a microtonal system called El Sonido 13 (The 13th Sound). 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Circum-Caribbean Dialogues in Music and Dance" class="work-thumbnail" src="https://attachments.academia-assets.com/45322553/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/12568255/Danz%C3%B3n_Circum_Caribbean_Dialogues_in_Music_and_Dance">Danzón. Circum-Caribbean Dialogues in Music and Dance</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">"Initially branching out of the European contradance tradition, the danzón first emerged as a dis...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">"Initially branching out of the European contradance tradition, the danzón first emerged as a distinct form of music and dance among black performers in nineteenth-century Cuba. By the early twentieth-century, it had exploded in popularity throughout the Gulf of Mexico and Caribbean basin. A fundamentally hybrid music and dance complex, it reflects the fusion of European and African elements and had a strong influence on the development of later Latin dance traditions as well as early jazz in New Orleans. Danzón: Circum-Caribbean Dialogues in Music and Dance studies the emergence, hemisphere-wide influence, and historical and contemporary significance of this music and dance phenomenon. <br />Co-authors Alejandro L. Madrid and Robin D. Moore take an ethnomusicological, historical, and critical approach to the processes of appropriation of the danzón in new contexts, its changing meanings over time, and its relationship to other musical forms. Delving into its long history of controversial popularization, stylistic development, glorification, decay, and rebirth in a continuous transnational dialogue between Cuba and Mexico as well as New Orleans, the authors explore the production, consumption, and transformation of this Afro-diasporic performance complex in relation to global and local ideological discourses. By focusing on interactions across this entire region as well as specific local scenes, Madrid and Moore underscore the extent of cultural movement and exchange within the Americas during the late nineteenth and early twentieth-centuries, and are thereby able to analyze the danzón, the dance scenes it has generated, and the various discourses of identification surrounding it as elements in broader regional processes. Danzón is a significant addition to the literature on Latin American music, dance, and expressive culture; it is essential reading for scholars, students, and fans of this music alike."</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="891ee9e9886db6b483b92dcc68e7480e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":45322553,"asset_id":12568255,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/45322553/download_file?st=MTczMzAyMzQ2Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="12568255"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="12568255"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 12568255; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=12568255]").text(description); $(".js-view-count[data-work-id=12568255]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 12568255; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='12568255']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 12568255, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "891ee9e9886db6b483b92dcc68e7480e" } } $('.js-work-strip[data-work-id=12568255]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":12568255,"title":"Danzón. 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Moore take an ethnomusicological, historical, and critical approach to the processes of appropriation of the danzón in new contexts, its changing meanings over time, and its relationship to other musical forms. Delving into its long history of controversial popularization, stylistic development, glorification, decay, and rebirth in a continuous transnational dialogue between Cuba and Mexico as well as New Orleans, the authors explore the production, consumption, and transformation of this Afro-diasporic performance complex in relation to global and local ideological discourses. 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Experiencing Music, Expressing Culture" class="work-thumbnail" src="https://attachments.academia-assets.com/39165324/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/2317202/Music_in_Mexico_Experiencing_Music_Expressing_Culture">Music in Mexico. Experiencing Music, Expressing Culture</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The complex legacy of Mexico's ethnic past and geographic location have shaped the country and it...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The complex legacy of Mexico's ethnic past and geographic location have shaped the country and its culture. In Music in Mexico, Alejandro L. Madrid uses extensive fieldwork, interviews with performers, eyewitness accounts of performances, and vivid illustrations to guide students through modern-day music practices. Applying three themes-ethnic identity, migration, and media influences-the text explores the music that Mexicans grow up listening to and shows how these traditions are the result of long-standing transnational dialogues. Packaged with a 40-minute audio CD containing musical examples, the text features numerous listening activities that engage students with the music.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c452b8fabdd8829b1df61343826899da" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":39165324,"asset_id":2317202,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/39165324/download_file?st=MTczMzAyMzQ2Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="2317202"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="2317202"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 2317202; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=2317202]").text(description); $(".js-view-count[data-work-id=2317202]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 2317202; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='2317202']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 2317202, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c452b8fabdd8829b1df61343826899da" } } $('.js-work-strip[data-work-id=2317202]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":2317202,"title":"Music in Mexico. 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Electronic Dance Music from Tijuana to the World" class="work-thumbnail" src="https://attachments.academia-assets.com/38483223/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/1525546/Nor_Tec_Rifa_Electronic_Dance_Music_from_Tijuana_to_the_World">Nor-Tec Rifa! Electronic Dance Music from Tijuana to the World</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">"At the dawn of the twenty-first century, the Nor-tec phenomenon emerged from the border city of ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">"At the dawn of the twenty-first century, the Nor-tec phenomenon emerged from the border city of Tijuana and through the Internet, quickly conquered a global audience. Marketed as a kind of "ethnic" electronic dance music, Nor-tec samples sounds of traditional music from the north of Mexico, and transforms them through computer technology used in European and American techno music and electronica. <br /> <br />Tijuana has media links to both Mexico and the United States, with peoples, currencies, and cultural goods--perhaps especially music--from both sides circulating intensely within the city. Older residents and their more mobile, cosmopolitan-minded children thus engage in a constant struggle with identity and nationality, appropriation and authenticity. Nor-tec music in its very composition encapsulates this city's struggle, resonating with issues felt on the global level, while holding vastly different meanings to the variety of communities that embrace it. <br /> <br />With an impressive hybrid of musicology, ethnomusicology, cultural and performance studies, urbanism, and border studies, Nor-tec Rifa! offers compelling insights into the cultural production of Nor-tec as it stems from norteña, banda, and grupera traditions. The book is also among the first to offer detailed accounts of Nor-tec music's composition process."</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2ca163239fc9f663a590a5a2ba53ce43" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":38483223,"asset_id":1525546,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/38483223/download_file?st=MTczMzAyMzQ2Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="1525546"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="1525546"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 1525546; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=1525546]").text(description); $(".js-view-count[data-work-id=1525546]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 1525546; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='1525546']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 1525546, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "2ca163239fc9f663a590a5a2ba53ce43" } } $('.js-work-strip[data-work-id=1525546]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":1525546,"title":"Nor-Tec Rifa! 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Older residents and their more mobile, cosmopolitan-minded children thus engage in a constant struggle with identity and nationality, appropriation and authenticity. Nor-tec music in its very composition encapsulates this city's struggle, resonating with issues felt on the global level, while holding vastly different meanings to the variety of communities that embrace it. \r\n\r\nWith an impressive hybrid of musicology, ethnomusicology, cultural and performance studies, urbanism, and border studies, Nor-tec Rifa! offers compelling insights into the cultural production of Nor-tec as it stems from norteña, banda, and grupera traditions. 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Music, Culture, and Ideas in Post-Revolutionary Mexico" class="work-thumbnail" src="https://attachments.academia-assets.com/32357330/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/1525548/Sounds_of_the_Modern_Nation_Music_Culture_and_Ideas_in_Post_Revolutionary_Mexico">Sounds of the Modern Nation. Music, Culture, and Ideas in Post-Revolutionary Mexico</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">""Sounds of the Modern Nation explores the development of modernist and avant-garde art music sty...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">""Sounds of the Modern Nation explores the development of modernist and avant-garde art music styles and aesthetics in Mexico in relation to the social and cultural changes that affected the country after the 1910-1920 revolution. Alejandro L. Madrid argues that these modernist works provide insight into the construction of individual and collective identities based on new ideas about modernity and nationality. Instead of depicting a dichotomy between modernity and nationalism, Madrid reflects on the multiple intersections between these two ideas and the dialogic ways through which these notions acquired meaning. <br /> <br />Madrid challenges the view that Latin American modernist music and other art were mere imitations of European trends, advancing instead the argument that Latin American artists resignified European ideas according to their specific historical and cultural circumstances. His work shows how microtonal and futurist music, modernist and avant-garde aesthetics, as well as indigenist and indianist ideas, entered a process of negotiation that ultimately shaped the ideological framework of twentieth-century Mexico.""</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4e1e9fd8126cd2fcca4812c32aab2c8c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":32357330,"asset_id":1525548,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/32357330/download_file?st=MTczMzAyMzQ2Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="1525548"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="1525548"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 1525548; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=1525548]").text(description); $(".js-view-count[data-work-id=1525548]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 1525548; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='1525548']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 1525548, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "4e1e9fd8126cd2fcca4812c32aab2c8c" } } $('.js-work-strip[data-work-id=1525548]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":1525548,"title":"Sounds of the Modern Nation. 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Música, cultura e ideas en el México post-revolucionario, 1920-1930" class="work-thumbnail" src="https://attachments.academia-assets.com/32414156/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/1525571/Los_sonidos_de_la_naci%C3%B3n_moderna_M%C3%BAsica_cultura_e_ideas_en_el_M%C3%A9xico_post_revolucionario_1920_1930">Los sonidos de la nación moderna. Música, cultura e ideas en el México post-revolucionario, 1920-1930</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">¿Cómo se crean discursivamente las nociones de tradición e identidad?; ¿cuáles son y cómo se dan ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">¿Cómo se crean discursivamente las nociones de tradición e identidad?; ¿cuáles son y cómo se dan los procesos que informan las prácticas de consumo y producción cultural relacionados con la música?; ¿cuál es el papel del consumo de ideas foráneas en la elaboración de conocimientos locales?; ¿cómo debemos abordar el concepto de «imitación» en el contexto del desequilibrio de poderes que permea la historia de Latinoamérica?; ¿qué implicaciones tiene hablar de «imitación» y «autenticidad» en la producción y consumo de artefactos culturales latinoamericanos?; ¿cuáles son las relaciones de poder que informan dichos discursos? Este libro es el resultado de la búsqueda de respuestas a estas preguntas y de explorar las nociones de «imitación» y «autenticidad» en la construcción política de los discursos que en la década de 1920 permitieron a artistas e intelectuales inventar o escribir su lugar en la sociedad y en la historia mexicanas, construir deseos individuales y colectivos, e imaginar su futuro y el de la nación.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="00c8673877162be9a38d3eec9f4fa939" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":32414156,"asset_id":1525571,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/32414156/download_file?st=MTczMzAyMzQ2Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="1525571"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="1525571"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 1525571; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=1525571]").text(description); $(".js-view-count[data-work-id=1525571]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 1525571; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='1525571']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 1525571, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "00c8673877162be9a38d3eec9f4fa939" } } $('.js-work-strip[data-work-id=1525571]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":1525571,"title":"Los sonidos de la nación moderna. 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Music and Performance at the U.S.-Mexico Border</span><span>, 2011</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Through the study of a large variety of musical practices from the U.S.-Mexico border, Transnatio...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Through the study of a large variety of musical practices from the U.S.-Mexico border, Transnational Encounters seeks to provide a new perspective on the complex character of this geographic area. By focusing not only on norteña, banda or conjunto musics (the most stereotypical musical traditions among Hispanics in the area) but also engaging a number of musical practices that have often been neglected in the study of this border's history and culture (indigenous musics, African American musical traditions, pop musics), the authors provide a glance into the diversity of ethnic groups that have encountered each other throughout the area's history. Against common misconceptions about the U.S.-Mexico border as a predominant Mexican area, this book argues that it is diversity and not homogeneity which characterizes it. From a wide variety of disciplinary and multidisciplinary enunciations, these essays explore the transnational connections that inform these musical cultures while keeping an eye on their powerful local significance, in an attempt to redefine notions like "border," "nation," "migration," "diaspora," etc. Looking at music and its performative power through the looking glass of cultural criticism allows this book to contribute to larger intellectual concerns and help redefine the field of U.S.-Mexico border studies beyond the North/South and American/Mexican dichotomies. Furthermore, the essays in this book problematize some of the widespread misconceptions about U.S.-Mexico border history and culture in the current debate about immigration.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="109545f650ea362ef95ceebc359c6286" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":32441363,"asset_id":1525569,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/32441363/download_file?st=MTczMzAyMzQ2Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="1525569"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="1525569"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 1525569; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=1525569]").text(description); $(".js-view-count[data-work-id=1525569]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 1525569; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='1525569']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 1525569, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "109545f650ea362ef95ceebc359c6286" } } $('.js-work-strip[data-work-id=1525569]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":1525569,"title":"\"Transnational Musical Encounters at the U.S.-Mexico Border\"","translated_title":"","metadata":{"abstract":"Through the study of a large variety of musical practices from the U.S.-Mexico border, Transnational Encounters seeks to provide a new perspective on the complex character of this geographic area. 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Against common misconceptions about the U.S.-Mexico border as a predominant Mexican area, this book argues that it is diversity and not homogeneity which characterizes it. From a wide variety of disciplinary and multidisciplinary enunciations, these essays explore the transnational connections that inform these musical cultures while keeping an eye on their powerful local significance, in an attempt to redefine notions like \"border,\" \"nation,\" \"migration,\" \"diaspora,\" etc. Looking at music and its performative power through the looking glass of cultural criticism allows this book to contribute to larger intellectual concerns and help redefine the field of U.S.-Mexico border studies beyond the North/South and American/Mexican dichotomies. Furthermore, the essays in this book problematize some of the widespread misconceptions about U.S.-Mexico border history and culture in the current debate about immigration.","internal_url":"https://www.academia.edu/1525569/_Transnational_Musical_Encounters_at_the_U_S_Mexico_Border_","translated_internal_url":"","created_at":"2012-04-26T21:48:40.975-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":1618313,"coauthors_can_edit":true,"document_type":"book","co_author_tags":[],"downloadable_attachments":[{"id":32441363,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/32441363/thumbnails/1.jpg","file_name":"Transnational_Encounters_Intro.pdf","download_url":"https://www.academia.edu/attachments/32441363/download_file?st=MTczMzAyMzQ2Niw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Transnational_Musical_Encounters_at_the.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/32441363/Transnational_Encounters_Intro-libre.pdf?1391128766=\u0026response-content-disposition=attachment%3B+filename%3DTransnational_Musical_Encounters_at_the.pdf\u0026Expires=1733027066\u0026Signature=gYwgoGjdJAaxXjLUNySkX1V2e1V7p1FKLSCckIm8g2jpbGXMtBa83ZFs7hvOy~ONbKQl~SPqlBk-l2~mqjy~1h0WZWNtEPteV7aU3WKyehFM5BTChdLn-ufPY8ySaIjqhQZj65mvgLCqLlOLXMn~UkVU9yRPlPCsHDUfZ6rt2D8AauxJf1fXFXHfPZYqyqSf0ianpnMKlhFXuxVIbXcfOKwfOIoPusLybIPVKTwHI99qtbskv2b7j11ty1jvRBV2FEhp0Kz3RneIxEzVWOIAgpiJv8sVTSIU7TfoL7Qt-nWA2XRAZa0CpIanl5RyfZ50h2YSq-BoEb87wyddgc86Sw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"_Transnational_Musical_Encounters_at_the_U_S_Mexico_Border_","translated_slug":"","page_count":13,"language":"en","content_type":"Work","owner":{"id":1618313,"first_name":"Alejandro L.","middle_initials":null,"last_name":"Madrid","page_name":"AlejandroLMadrid","domain_name":"harvard","created_at":"2012-04-26T21:08:33.954-07:00","display_name":"Alejandro L. 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Cultural Production, Distribution, and Consumption in a Globalized Scenario " class="work-thumbnail" src="https://attachments.academia-assets.com/32171117/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/1525567/Postnational_Musical_Identities_Cultural_Production_Distribution_and_Consumption_in_a_Globalized_Scenario">Postnational Musical Identities. Cultural Production, Distribution, and Consumption in a Globalized Scenario </a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">"Postnational Musical Identities gathers interdisciplinary essays that explore how music audience...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">"Postnational Musical Identities gathers interdisciplinary essays that explore how music audiences and markets are imagined in a globalized scenario, how music reflects and reflects upon new understandings of citizenship beyond the nation-state, and how music works as a site of resistance against globalization. <br />"Hybridity," "postnationalism," "transnationalism," "globalization," "diaspora," and similar buzzwords have not only informed scholarly discourse and analysis of music but also shaped the way musical productions have been marketed worldwide in recent times. While the construction of identities occupies a central position in this context, there are discrepancies between the conceptualization of music as an extremely fluid phenomenon and the traditionally monovalent notion of identity to which it has historically been incorporated. As such, music has always been linked to the construction of regional and national identities. The essays in this collection seek to explore the role of music, networks of music distribution, music markets, music consumption, music production, and music scholarship in the articulation of postnational sites of identification."</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="3883eda7bb5935b2d5335ac97c78d460" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":32171117,"asset_id":1525567,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/32171117/download_file?st=MTczMzAyMzQ2Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="1525567"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="1525567"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 1525567; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=1525567]").text(description); $(".js-view-count[data-work-id=1525567]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 1525567; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='1525567']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 1525567, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "3883eda7bb5935b2d5335ac97c78d460" } } $('.js-work-strip[data-work-id=1525567]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":1525567,"title":"Postnational Musical Identities. 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The essays in this collection seek to explore the role of music, networks of music distribution, music markets, music consumption, music production, and music scholarship in the articulation of postnational sites of identification.\"","more_info":"Co-edited with Ignacio Corona","publisher":"Lexington Books","publication_date":{"day":null,"month":null,"year":2007,"errors":{}}},"translated_abstract":"\"Postnational Musical Identities gathers interdisciplinary essays that explore how music audiences and markets are imagined in a globalized scenario, how music reflects and reflects upon new understandings of citizenship beyond the nation-state, and how music works as a site of resistance against globalization. \r\n\"Hybridity,\" \"postnationalism,\" \"transnationalism,\" \"globalization,\" \"diaspora,\" and similar buzzwords have not only informed scholarly discourse and analysis of music but also shaped the way musical productions have been marketed worldwide in recent times. While the construction of identities occupies a central position in this context, there are discrepancies between the conceptualization of music as an extremely fluid phenomenon and the traditionally monovalent notion of identity to which it has historically been incorporated. As such, music has always been linked to the construction of regional and national identities. The essays in this collection seek to explore the role of music, networks of music distribution, music markets, music consumption, music production, and music scholarship in the articulation of postnational sites of identification.\"","internal_url":"https://www.academia.edu/1525567/Postnational_Musical_Identities_Cultural_Production_Distribution_and_Consumption_in_a_Globalized_Scenario","translated_internal_url":"","created_at":"2012-04-26T21:45:27.585-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":1618313,"coauthors_can_edit":true,"document_type":"book","co_author_tags":[],"downloadable_attachments":[{"id":32171117,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/32171117/thumbnails/1.jpg","file_name":"Intro_Postnational_IDs.pdf","download_url":"https://www.academia.edu/attachments/32171117/download_file?st=MTczMzAyMzQ2Niw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Postnational_Musical_Identities_Cultural.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/32171117/Intro_Postnational_IDs-libre.pdf?1391448535=\u0026response-content-disposition=attachment%3B+filename%3DPostnational_Musical_Identities_Cultural.pdf\u0026Expires=1733027066\u0026Signature=g4-WFfOmQ49YpVUa~jkfCjENOtvOucq1EhyjADnuybMy6rJd0WULt-qApUd4MZV0lHsHpE8wIsBN~toNnsea8VkszNFIhWmgpzcmXrdtJhKxzY1W4YzPYDWU9idXyR-RITJJ4PzdUcZhnYM9LF4i5qyINM5MOUVaBidVthooucxP6-5AgWs398MvWRBM05pv5G72h2mjI7H3lz8qSwjgmAA68xVyzy6TTjkmYdzFrr-hv2cLTz6fm4aR6n~yldYQhzDIBodfz3DR0UObzWT5ZML2pa76-YNz1Tut5aKFUlk150qJCeOEAN6yPK9DvFW8-vjCgFvlRdnShVXA2Rt8yg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Postnational_Musical_Identities_Cultural_Production_Distribution_and_Consumption_in_a_Globalized_Scenario","translated_slug":"","page_count":21,"language":"en","content_type":"Work","owner":{"id":1618313,"first_name":"Alejandro L.","middle_initials":null,"last_name":"Madrid","page_name":"AlejandroLMadrid","domain_name":"harvard","created_at":"2012-04-26T21:08:33.954-07:00","display_name":"Alejandro L. 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Madrid</h3></div><div class="js-work-strip profile--work_container" data-work-id="104413645"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/104413645/Understanding_Music_Studies_Well_Being_and_the_Humanities_in_Times_of_Neoliberalism"><img alt="Research paper thumbnail of Understanding Music Studies, Well-Being, and the Humanities in Times of Neoliberalism" class="work-thumbnail" src="https://attachments.academia-assets.com/104150652/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/104413645/Understanding_Music_Studies_Well_Being_and_the_Humanities_in_Times_of_Neoliberalism">Understanding Music Studies, Well-Being, and the Humanities in Times of Neoliberalism</a></div><div class="wp-workCard_item"><span>Music and Human Flourishing</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This chapter asserts that a transdisciplinary approach to the study of music that enables scholar...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This chapter asserts that a transdisciplinary approach to the study of music that enables scholars to transcend the narrow sets of questions that musicology and music theory have traditionally privileged—concerns with aesthetic value and a perceived intrinsic worthiness of specific musical texts and practices—is essential in defining music studies as an endeavor relevant to larger intellectual projects in the humanities and social sciences. This transdisciplinary approach resonates with James Pawelski’s call for an alliance between the humanities and the science of well-being that would make “humanities scholarship more informed and more relevant to contemporary debates.” Pawelski’s definition of well-being in relation to “a society based on individual freedom and self-realization” and his attempts to engage quantitative evaluative methods, however, have neoliberal overtones. In response, this chapter offers an assessment of neoliberalism’s take on human flourishing and proposes alternative well-being strategies that privilege collective realization and avoid giving in to economic, political, and philosophical models that thrive on human precarity and conflict.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="fca3cb068ad3ede3459b04ca1e33b9df" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":104150652,"asset_id":104413645,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/104150652/download_file?st=MTczMzAyMzQ2Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="104413645"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="104413645"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 104413645; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=104413645]").text(description); $(".js-view-count[data-work-id=104413645]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 104413645; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='104413645']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 104413645, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "fca3cb068ad3ede3459b04ca1e33b9df" } } $('.js-work-strip[data-work-id=104413645]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":104413645,"title":"Understanding Music Studies, Well-Being, and the Humanities in Times of Neoliberalism","translated_title":"","metadata":{"abstract":"This chapter asserts that a transdisciplinary approach to the study of music that enables scholars to transcend the narrow sets of questions that musicology and music theory have traditionally privileged—concerns with aesthetic value and a perceived intrinsic worthiness of specific musical texts and practices—is essential in defining music studies as an endeavor relevant to larger intellectual projects in the humanities and social sciences. 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Mendoza y Hacia una nueva música/Toward a New Music (1932-1937) de Carlos Chávez. En el contexto de la reconceptualización de la noción de archivo musical o archivo sonoro a partir de la escucha y la imaginación de la escucha, este artículo explora la posibilidad de acercarse a esos dos libros de manera relacional como archivos de aspiraciones y deseos. Esta constelación archivística nos ofrece un punto de entrada para comprender la relación performativa entre modernidad y tradición que informa el desarrollo de la narrativa nacionalista mexicana posrevolucionaria. El artículo sugiere que la invención del pasado en contrapunto con la imaginación del futuro que la escritura de estos libros pone en evidencia es una clave fundamental para entender el esencialismo de las aspiraciones que ha informado la historiografía musical mexicana de los últimos noventa años.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="0f48ea86483b97ecc2288d2d84198c42" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":77088152,"asset_id":65536177,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/77088152/download_file?st=MTczMzAyMzQ2Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="65536177"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="65536177"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 65536177; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=65536177]").text(description); $(".js-view-count[data-work-id=65536177]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 65536177; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='65536177']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 65536177, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "0f48ea86483b97ecc2288d2d84198c42" } } $('.js-work-strip[data-work-id=65536177]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":65536177,"title":"\"Rastreando las huellas de la escucha performativa: la escritura como constelación archivística\"","translated_title":"","metadata":{"doi":"10.3989/anuariomusical","abstract":"Este artículo plantea una revisión de la historiografía musical nacionalista mexicana tomando como punto de partida un análisis comparativo de dos libros publicados en Ciudad de México a principios de la década de 1930, Instrumental precortesiano (1933) de Daniel Castañeda y Vicente T. 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Caminando sobre la delgada línea entre literatura y “ciencia auxiliar”, la biografía musical ha sido en momentos apreciada y en momentos denostada como parte del proyecto intelectual más amplio de la musicología. Sin embargo, es innegable que las biografías sobre músicos han ocupado mucha de la tinta y el papel que los estudiosos de la música han gastado en las últimas dos o tres centurias, y en ese trayecto ha sobrevivido a las transformaciones más importantes de la musicología como campo de estudios. Sin embargo, en un momento en el que la musicología crítica y los sound studies se desmarcan de la celebración de los “grandes hombres de la historia” y de la reproducción de teleologías eurocéntricas, y en un momento en que muchos campos de conocimiento en las humanidades y ciencias sociales han adoptado como suyos los reclamos antirracistas de movimientos como Black Lives Matter y las protestas contra la violencia de género de #MeToo, parecería que el género biográfico pudiera perder su centralidad en la disciplina. Tomando como caso de estudio mi escritura de la biografía de la compositora cubano-americana Tania León (n. 1943), este trabajo cuestiona la relevancia actual y la viabilidad futura de un género que ontológicamente pareciera imposibilitado para transitar exitosamente por las veredas que los giros epistemológicos más recientes proponen en la musicología.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="81893602606181900977300a1218c766" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":66268252,"asset_id":46869087,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/66268252/download_file?st=MTczMzAyMzQ2Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="46869087"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="46869087"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 46869087; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=46869087]").text(description); $(".js-view-count[data-work-id=46869087]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 46869087; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='46869087']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 46869087, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "81893602606181900977300a1218c766" } } $('.js-work-strip[data-work-id=46869087]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":46869087,"title":"Entre/tejiendo vidas y discursos: Notas y reflexiones en torno a la biografía y la anti-biografía musical","translated_title":"","metadata":{"issue":"1","volume":"22","abstract":"La posición de los estudios biográficos dentro de la musicología ha sido ambigua desde el inicio de la disciplina a finales del siglo XIX hasta la actualidad. 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The review report...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">On April 7, 1965, Federico Smith published a music review in the newspaper Hoy. The review reported on three events: an upcoming clarinet and piano concert, a guitar recital, and the representation of the musical comedy Mi solar. The clarinet and piano concert, featuring Paquito D’Rivera and Tania León, was to be the launching event of the Brigada Hermanos Saíz’s music program. The guitar recital, played by Leo Brouwer and Jesús Ortega, presented the world premiere of Brouwer’s Micropiezas, now a classic set of pieces for two guitars. Finally, the representations of Mi solar featured the Conjunto Experimental de Danza, an activist dance troupe advocating for an avant-garde approach to aesthetic questions of national identity. Inspired on ideas by Hans Ulrich Gumbrecht, Carlo Ginzburg, and Clifford Geertz, this paper takes this review as a micro-universe, a sort of synecdoche of Cuban musical practice and cultural policy in 1965. In doing that I argue for a microhistorical approach to the materiality of Smith’s journalistic note —a thick description that focuses not only on the artistic actions depicted in the note but also on the fortuitous political circumstances and life events that led to the very existence of this review. I suggest that such an approach would make a short and apparently innocuous piece of cultural journalism into a point of entry to discuss the intersection of music, culture, politics, creativity, experimentation, and innovation that fueled artistic life during the most utopian period of the Cuban revolution.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c34bbca2d6bccf01965a461e9ccf1297" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":59881249,"asset_id":39708655,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/59881249/download_file?st=MTczMzAyMzQ2Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39708655"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39708655"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39708655; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=39708655]").text(description); $(".js-view-count[data-work-id=39708655]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 39708655; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='39708655']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 39708655, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c34bbca2d6bccf01965a461e9ccf1297" } } $('.js-work-strip[data-work-id=39708655]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":39708655,"title":"Sinécdoque, microhistoria y una reseña musical de 1965","translated_title":"","metadata":{"issue":"44","volume":"23","abstract":"On April 7, 1965, Federico Smith published a music review in the newspaper Hoy. 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In doing that I argue for a microhistorical approach to the materiality of Smith’s journalistic note —a thick description that focuses not only on the artistic actions depicted in the note but also on the fortuitous political circumstances and life events that led to the very existence of this review. I suggest that such an approach would make a short and apparently innocuous piece of cultural journalism into a point of entry to discuss the intersection of music, culture, politics, creativity, experimentation, and innovation that fueled artistic life during the most utopian period of the Cuban revolution. ","page_numbers":"143-150","publication_date":{"day":null,"month":null,"year":2019,"errors":{}},"publication_name":"Resonancias"},"translated_abstract":"On April 7, 1965, Federico Smith published a music review in the newspaper Hoy. The review reported on three events: an upcoming clarinet and piano concert, a guitar recital, and the representation of the musical comedy Mi solar. The clarinet and piano concert, featuring Paquito D’Rivera and Tania León, was to be the launching event of the Brigada Hermanos Saíz’s music program. The guitar recital, played by Leo Brouwer and Jesús Ortega, presented the world premiere of Brouwer’s Micropiezas, now a classic set of pieces for two guitars. Finally, the representations of Mi solar featured the Conjunto Experimental de Danza, an activist dance troupe advocating for an avant-garde approach to aesthetic questions of national identity. Inspired on ideas by Hans Ulrich Gumbrecht, Carlo Ginzburg, and Clifford Geertz, this paper takes this review as a micro-universe, a sort of synecdoche of Cuban musical practice and cultural policy in 1965. In doing that I argue for a microhistorical approach to the materiality of Smith’s journalistic note —a thick description that focuses not only on the artistic actions depicted in the note but also on the fortuitous political circumstances and life events that led to the very existence of this review. I suggest that such an approach would make a short and apparently innocuous piece of cultural journalism into a point of entry to discuss the intersection of music, culture, politics, creativity, experimentation, and innovation that fueled artistic life during the most utopian period of the Cuban revolution. 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Madrid</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://ucsd.academia.edu/PepeRojo">Pepe Rojo</a></span></div><div class="wp-workCard_item"><span>Experimentalisms in Practice. Music Perspectives from Latin America</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This article focuses on the process of production of Café Tacvba’s album Revés/Yosoy to study how...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This article focuses on the process of production of Café Tacvba’s album Revés/Yosoy to study how sonic and stylistic experimentation works to reverse the audiences’ listening experience, forcing them to hear familiar sounds from the perspective of the Other. The authors take Viktor Shklovsky’s notion of ostranenie (defamiliarization or estrangement) to argue that, by transforming and decontextualizing sounds and musical styles that mainstream audiences connect to specific traditional practices, Café Tacvba allows listeners to hear fantastic new possibilities in everyday sounds, thus lengthening their aesthetic horizon. The authors analyze estrangement in the process of production of this album in order to explore how estrangement provides it with a subversive character that challenges the expectations that the global neo-liberal entertainment industry placed on a band that was an icon of the Rock en Español marketing strategy of the 1990s.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="ba7669cc67819b41b2513f1bf1e1186a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57167812,"asset_id":37217079,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57167812/download_file?st=MTczMzAyMzQ2Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37217079"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37217079"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37217079; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37217079]").text(description); $(".js-view-count[data-work-id=37217079]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37217079; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='37217079']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 37217079, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "ba7669cc67819b41b2513f1bf1e1186a" } } $('.js-work-strip[data-work-id=37217079]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":37217079,"title":"Experimentalism as Estrangement: Café Tacvba's Revés/Yosoy","translated_title":"","metadata":{"abstract":"This article focuses on the process of production of Café Tacvba’s album Revés/Yosoy to study how sonic and stylistic experimentation works to reverse the audiences’ listening experience, forcing them to hear familiar sounds from the perspective of the Other. 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One could begin measuring his success through the numerous Billboard, Grammy, Latin Grammy, and MTV awards, and more than 1500 Golden, Platinum, and Multi-Platinum Records. The excesses one witnesses in Juan Gabriel’s commercial success are analogous to the stylistic excesses one observes in his vocality and the performance of his musical persona. This article focuses on these excesses and examines them in relation to mainstream ideas about masculinity in Mexico and Latin America. Relating Juan Gabriel’s symbolic excess in performance to the Marxist idea of surplus, this article takes the singer’s vocality as a case study to theorize the notion of jotería as a libidinal economy of excesses that puts in evidence the contradictions, silences, and absences of the Mexican and Latin American heteronormative fantasies.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e0f4c228946e7f7e32983a7d611e9ec6" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57116073,"asset_id":37164982,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57116073/download_file?st=MTczMzAyMzQ2Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37164982"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37164982"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37164982; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37164982]").text(description); $(".js-view-count[data-work-id=37164982]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37164982; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='37164982']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 37164982, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e0f4c228946e7f7e32983a7d611e9ec6" } } $('.js-work-strip[data-work-id=37164982]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":37164982,"title":"Secreto a voces: Excess, Performance, and Jotería in Juan Gabriel's Vocality","translated_title":"","metadata":{"issue":"1","volume":"24","abstract":"Juan Gabriel is arguably the most successful Mexican singer, songwriter, and producer of the last three decades of the twentieth century. 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These issues are analyzed vis-à-vis the contemporary attack on the humanities in U.S. academia in order to propose alternative approaches to music education and scholarship that work as critical models to the colonialist perspective that has informed music academia for generations and to the neo-liberal project that has been slowly taking over academia in the last twenty years.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="0c78ed90c010c70b908f945cc404ffa4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":52473650,"asset_id":32189283,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/52473650/download_file?st=MTczMzAyMzQ2Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="32189283"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="32189283"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 32189283; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=32189283]").text(description); $(".js-view-count[data-work-id=32189283]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 32189283; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='32189283']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 32189283, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "0c78ed90c010c70b908f945cc404ffa4" } } $('.js-work-strip[data-work-id=32189283]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":32189283,"title":"Diversity, Tokenism, Non-Canonical Musics, and the Crisis of the Humanities in U.S. Academia","translated_title":"","metadata":{"issue":"2","volume":"7","abstract":"Taking as a point of departure the question of whether Ibero-American music should have a more prominent presence in music history sequences currently taught at U.S. institutions of higher education this essay explores questions about diversity and tokenism in the reproduction of mainstream models of knowledge production. 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A Polyrhythmic Life" class="work-thumbnail" src="https://attachments.academia-assets.com/104150232/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/104413025/Tania_Le%C3%B3ns_Stride_A_Polyrhythmic_Life">Tania León's Stride. A Polyrhythmic Life</a></div><div class="wp-workCard_item"><span>Tania León's Stride. A Polyrhythmic Life</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Acclaimed composer, sought-after conductor, esteemed educator, tireless advocate for the arts--Ta...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Acclaimed composer, sought-after conductor, esteemed educator, tireless advocate for the arts--Tania León’s achievements encompass but also stretch far beyond contemporary classical music. Alejandro L. Madrid draws on oral history, archival work, and ethnography to offer the first in-depth biography of the artist. Breaking from a chronological account, Madrid looks at León through the issues that have informed and defined moments in her life and her professional works. León’s words become a starting ground--but also a counterpoint--to the accounts of the people in her orbit. What emerges is more than an extraordinary portrait of an artist's journey. It is a story of how a human being reacts to the challenges thrown at her by history itself, be it the Cuban revolution or the struggle for civil and individual rights. <br />Nuanced and multifaceted, Tania León's Stride looks at the life, legacy, and milieu that created and sustained one of the most important figures in American classical music.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="ece3f0063716023943f25c53b664c1c1" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":104150232,"asset_id":104413025,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/104150232/download_file?st=MTczMzAyMzQ2Nyw4LjIyMi4yMDguMTQ2&st=MTczMzAyMzQ2Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="104413025"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="104413025"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 104413025; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=104413025]").text(description); $(".js-view-count[data-work-id=104413025]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 104413025; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='104413025']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 104413025, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "ece3f0063716023943f25c53b664c1c1" } } $('.js-work-strip[data-work-id=104413025]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":104413025,"title":"Tania León's Stride. 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It is a story of how a human being reacts to the challenges thrown at her by history itself, be it the Cuban revolution or the struggle for civil and individual rights.\r\nNuanced and multifaceted, Tania León's Stride looks at the life, legacy, and milieu that created and sustained one of the most important figures in American classical music.","publication_date":{"day":null,"month":null,"year":2022,"errors":{}},"publication_name":"Tania León's Stride. A Polyrhythmic Life"},"translated_abstract":"Acclaimed composer, sought-after conductor, esteemed educator, tireless advocate for the arts--Tania León’s achievements encompass but also stretch far beyond contemporary classical music. Alejandro L. Madrid draws on oral history, archival work, and ethnography to offer the first in-depth biography of the artist. Breaking from a chronological account, Madrid looks at León through the issues that have informed and defined moments in her life and her professional works. 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Music Perspectives from Latin America" class="work-thumbnail" src="https://attachments.academia-assets.com/56359341/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/36444846/Experimentalisms_in_Practice_Music_Perspectives_from_Latin_America">Experimentalisms in Practice. Music Perspectives from Latin America</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://harvard.academia.edu/AlejandroLMadrid">Alejandro L. Madrid</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unm.academia.edu/AnaAlonsoMinutti">Ana Alonso-Minutti</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://indiana.academia.edu/EduardoHerrera">Eduardo Herrera</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Experimentalisms in Practice explores the multiple sites in which experimentalism emerges and bec...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">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.<br /><br />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.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="fec5fda3b37bf3b0637d59697fa5d6b9" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":56359341,"asset_id":36444846,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/56359341/download_file?st=MTczMzAyMzQ2Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="36444846"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="36444846"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36444846; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36444846]").text(description); $(".js-view-count[data-work-id=36444846]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 36444846; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='36444846']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 36444846, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "fec5fda3b37bf3b0637d59697fa5d6b9" } } $('.js-work-strip[data-work-id=36444846]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":36444846,"title":"Experimentalisms in Practice. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="13108825"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/13108825/In_Search_of_Juli%C3%A1n_Carrillo_and_Sonido_13"><img alt="Research paper thumbnail of In Search of Julián Carrillo and Sonido 13" class="work-thumbnail" src="https://attachments.academia-assets.com/50957684/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/13108825/In_Search_of_Juli%C3%A1n_Carrillo_and_Sonido_13">In Search of Julián Carrillo and Sonido 13</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In the 1920s, the Mexican composer Julián Carrillo (1875-1965) developed a microtonal system call...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In the 1920s, the Mexican composer Julián Carrillo (1875-1965) developed a microtonal system called El Sonido 13 (The 13th Sound). Although his pioneering role as one of the first proponents of microtonality within the Western art music tradition elevated Carrillo to iconic status among European avant-garde circles in the 1960s and 1970s, his music and legacy have remained largely overlooked by music scholars, critics, and performers. <br /> <br />Confronting this paucity of scholarship on Carrillo and his music, Alejandro L. Madrid goes above and beyond "filling in" the historical record. Combining archival and ethnographic research with musical analysis and cultural theory, Madrid argues that Carrillo and Sonido 13 are best understood as a cultural complex: a network of moments, spaces, and articulations in which Carrillo and his music continuously re-acquire significance and meaning. Thus, Madrid explores Carrillo's music and ideas not only in relation to the historical moments of their inception, but also in relation to the various cultural projects that kept them alive and re-signified them through the beginning of the twenty-first century. Eschewing traditionally linear historical frameworks, In Search of Julián Carrillo and Sonido 13 employs an innovative transhistorical narrative in which past, present, and future are explored dialogically in order to understand the politics of performance and self-representation behind Carrillo and Sonido 13. <br /> <br />In Search of Julián Carrillo and Sonido 13 transforms the traditional genre of the composer study, treating it not as a celebration of "masters" and "masterworks," but as a pointed postcolonial intervention that offers invaluable insight into the politics of cultural exchange, experimentalism, marginality, and cultural capital in twentieth century Mexico.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8da176cfea7be5ebc76c23a634ba059e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":50957684,"asset_id":13108825,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/50957684/download_file?st=MTczMzAyMzQ2Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="13108825"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="13108825"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 13108825; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=13108825]").text(description); $(".js-view-count[data-work-id=13108825]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 13108825; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='13108825']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 13108825, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8da176cfea7be5ebc76c23a634ba059e" } } $('.js-work-strip[data-work-id=13108825]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":13108825,"title":"In Search of Julián Carrillo and Sonido 13","translated_title":"","metadata":{"abstract":"In the 1920s, the Mexican composer Julián Carrillo (1875-1965) developed a microtonal system called El Sonido 13 (The 13th Sound). 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Circum-Caribbean Dialogues in Music and Dance" class="work-thumbnail" src="https://attachments.academia-assets.com/45322553/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/12568255/Danz%C3%B3n_Circum_Caribbean_Dialogues_in_Music_and_Dance">Danzón. Circum-Caribbean Dialogues in Music and Dance</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">"Initially branching out of the European contradance tradition, the danzón first emerged as a dis...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">"Initially branching out of the European contradance tradition, the danzón first emerged as a distinct form of music and dance among black performers in nineteenth-century Cuba. By the early twentieth-century, it had exploded in popularity throughout the Gulf of Mexico and Caribbean basin. A fundamentally hybrid music and dance complex, it reflects the fusion of European and African elements and had a strong influence on the development of later Latin dance traditions as well as early jazz in New Orleans. Danzón: Circum-Caribbean Dialogues in Music and Dance studies the emergence, hemisphere-wide influence, and historical and contemporary significance of this music and dance phenomenon. <br />Co-authors Alejandro L. Madrid and Robin D. Moore take an ethnomusicological, historical, and critical approach to the processes of appropriation of the danzón in new contexts, its changing meanings over time, and its relationship to other musical forms. Delving into its long history of controversial popularization, stylistic development, glorification, decay, and rebirth in a continuous transnational dialogue between Cuba and Mexico as well as New Orleans, the authors explore the production, consumption, and transformation of this Afro-diasporic performance complex in relation to global and local ideological discourses. By focusing on interactions across this entire region as well as specific local scenes, Madrid and Moore underscore the extent of cultural movement and exchange within the Americas during the late nineteenth and early twentieth-centuries, and are thereby able to analyze the danzón, the dance scenes it has generated, and the various discourses of identification surrounding it as elements in broader regional processes. Danzón is a significant addition to the literature on Latin American music, dance, and expressive culture; it is essential reading for scholars, students, and fans of this music alike."</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="891ee9e9886db6b483b92dcc68e7480e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":45322553,"asset_id":12568255,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/45322553/download_file?st=MTczMzAyMzQ2Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="12568255"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="12568255"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 12568255; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=12568255]").text(description); $(".js-view-count[data-work-id=12568255]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 12568255; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='12568255']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 12568255, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "891ee9e9886db6b483b92dcc68e7480e" } } $('.js-work-strip[data-work-id=12568255]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":12568255,"title":"Danzón. 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Moore take an ethnomusicological, historical, and critical approach to the processes of appropriation of the danzón in new contexts, its changing meanings over time, and its relationship to other musical forms. Delving into its long history of controversial popularization, stylistic development, glorification, decay, and rebirth in a continuous transnational dialogue between Cuba and Mexico as well as New Orleans, the authors explore the production, consumption, and transformation of this Afro-diasporic performance complex in relation to global and local ideological discourses. 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class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/2317202/Music_in_Mexico_Experiencing_Music_Expressing_Culture"><img alt="Research paper thumbnail of Music in Mexico. Experiencing Music, Expressing Culture" class="work-thumbnail" src="https://attachments.academia-assets.com/39165324/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/2317202/Music_in_Mexico_Experiencing_Music_Expressing_Culture">Music in Mexico. Experiencing Music, Expressing Culture</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The complex legacy of Mexico's ethnic past and geographic location have shaped the country and it...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The complex legacy of Mexico's ethnic past and geographic location have shaped the country and its culture. In Music in Mexico, Alejandro L. Madrid uses extensive fieldwork, interviews with performers, eyewitness accounts of performances, and vivid illustrations to guide students through modern-day music practices. Applying three themes-ethnic identity, migration, and media influences-the text explores the music that Mexicans grow up listening to and shows how these traditions are the result of long-standing transnational dialogues. 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Electronic Dance Music from Tijuana to the World" class="work-thumbnail" src="https://attachments.academia-assets.com/38483223/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/1525546/Nor_Tec_Rifa_Electronic_Dance_Music_from_Tijuana_to_the_World">Nor-Tec Rifa! Electronic Dance Music from Tijuana to the World</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">"At the dawn of the twenty-first century, the Nor-tec phenomenon emerged from the border city of ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">"At the dawn of the twenty-first century, the Nor-tec phenomenon emerged from the border city of Tijuana and through the Internet, quickly conquered a global audience. Marketed as a kind of "ethnic" electronic dance music, Nor-tec samples sounds of traditional music from the north of Mexico, and transforms them through computer technology used in European and American techno music and electronica. <br /> <br />Tijuana has media links to both Mexico and the United States, with peoples, currencies, and cultural goods--perhaps especially music--from both sides circulating intensely within the city. Older residents and their more mobile, cosmopolitan-minded children thus engage in a constant struggle with identity and nationality, appropriation and authenticity. Nor-tec music in its very composition encapsulates this city's struggle, resonating with issues felt on the global level, while holding vastly different meanings to the variety of communities that embrace it. <br /> <br />With an impressive hybrid of musicology, ethnomusicology, cultural and performance studies, urbanism, and border studies, Nor-tec Rifa! offers compelling insights into the cultural production of Nor-tec as it stems from norteña, banda, and grupera traditions. The book is also among the first to offer detailed accounts of Nor-tec music's composition process."</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2ca163239fc9f663a590a5a2ba53ce43" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":38483223,"asset_id":1525546,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/38483223/download_file?st=MTczMzAyMzQ2Nyw4LjIyMi4yMDguMTQ2&st=MTczMzAyMzQ2Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="1525546"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="1525546"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 1525546; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=1525546]").text(description); $(".js-view-count[data-work-id=1525546]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 1525546; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='1525546']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 1525546, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "2ca163239fc9f663a590a5a2ba53ce43" } } $('.js-work-strip[data-work-id=1525546]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":1525546,"title":"Nor-Tec Rifa! 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Music, Culture, and Ideas in Post-Revolutionary Mexico" class="work-thumbnail" src="https://attachments.academia-assets.com/32357330/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/1525548/Sounds_of_the_Modern_Nation_Music_Culture_and_Ideas_in_Post_Revolutionary_Mexico">Sounds of the Modern Nation. Music, Culture, and Ideas in Post-Revolutionary Mexico</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">""Sounds of the Modern Nation explores the development of modernist and avant-garde art music sty...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">""Sounds of the Modern Nation explores the development of modernist and avant-garde art music styles and aesthetics in Mexico in relation to the social and cultural changes that affected the country after the 1910-1920 revolution. Alejandro L. Madrid argues that these modernist works provide insight into the construction of individual and collective identities based on new ideas about modernity and nationality. Instead of depicting a dichotomy between modernity and nationalism, Madrid reflects on the multiple intersections between these two ideas and the dialogic ways through which these notions acquired meaning. <br /> <br />Madrid challenges the view that Latin American modernist music and other art were mere imitations of European trends, advancing instead the argument that Latin American artists resignified European ideas according to their specific historical and cultural circumstances. His work shows how microtonal and futurist music, modernist and avant-garde aesthetics, as well as indigenist and indianist ideas, entered a process of negotiation that ultimately shaped the ideological framework of twentieth-century Mexico.""</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4e1e9fd8126cd2fcca4812c32aab2c8c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":32357330,"asset_id":1525548,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/32357330/download_file?st=MTczMzAyMzQ2Nyw4LjIyMi4yMDguMTQ2&st=MTczMzAyMzQ2Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="1525548"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="1525548"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 1525548; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=1525548]").text(description); $(".js-view-count[data-work-id=1525548]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 1525548; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='1525548']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 1525548, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "4e1e9fd8126cd2fcca4812c32aab2c8c" } } $('.js-work-strip[data-work-id=1525548]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":1525548,"title":"Sounds of the Modern Nation. 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Música, cultura e ideas en el México post-revolucionario, 1920-1930" class="work-thumbnail" src="https://attachments.academia-assets.com/32414156/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/1525571/Los_sonidos_de_la_naci%C3%B3n_moderna_M%C3%BAsica_cultura_e_ideas_en_el_M%C3%A9xico_post_revolucionario_1920_1930">Los sonidos de la nación moderna. Música, cultura e ideas en el México post-revolucionario, 1920-1930</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">¿Cómo se crean discursivamente las nociones de tradición e identidad?; ¿cuáles son y cómo se dan ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">¿Cómo se crean discursivamente las nociones de tradición e identidad?; ¿cuáles son y cómo se dan los procesos que informan las prácticas de consumo y producción cultural relacionados con la música?; ¿cuál es el papel del consumo de ideas foráneas en la elaboración de conocimientos locales?; ¿cómo debemos abordar el concepto de «imitación» en el contexto del desequilibrio de poderes que permea la historia de Latinoamérica?; ¿qué implicaciones tiene hablar de «imitación» y «autenticidad» en la producción y consumo de artefactos culturales latinoamericanos?; ¿cuáles son las relaciones de poder que informan dichos discursos? Este libro es el resultado de la búsqueda de respuestas a estas preguntas y de explorar las nociones de «imitación» y «autenticidad» en la construcción política de los discursos que en la década de 1920 permitieron a artistas e intelectuales inventar o escribir su lugar en la sociedad y en la historia mexicanas, construir deseos individuales y colectivos, e imaginar su futuro y el de la nación.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="00c8673877162be9a38d3eec9f4fa939" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":32414156,"asset_id":1525571,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/32414156/download_file?st=MTczMzAyMzQ2Nyw4LjIyMi4yMDguMTQ2&st=MTczMzAyMzQ2Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="1525571"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="1525571"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 1525571; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=1525571]").text(description); $(".js-view-count[data-work-id=1525571]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 1525571; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='1525571']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 1525571, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "00c8673877162be9a38d3eec9f4fa939" } } $('.js-work-strip[data-work-id=1525571]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":1525571,"title":"Los sonidos de la nación moderna. 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Music and Performance at the U.S.-Mexico Border</span><span>, 2011</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Through the study of a large variety of musical practices from the U.S.-Mexico border, Transnatio...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Through the study of a large variety of musical practices from the U.S.-Mexico border, Transnational Encounters seeks to provide a new perspective on the complex character of this geographic area. By focusing not only on norteña, banda or conjunto musics (the most stereotypical musical traditions among Hispanics in the area) but also engaging a number of musical practices that have often been neglected in the study of this border's history and culture (indigenous musics, African American musical traditions, pop musics), the authors provide a glance into the diversity of ethnic groups that have encountered each other throughout the area's history. Against common misconceptions about the U.S.-Mexico border as a predominant Mexican area, this book argues that it is diversity and not homogeneity which characterizes it. From a wide variety of disciplinary and multidisciplinary enunciations, these essays explore the transnational connections that inform these musical cultures while keeping an eye on their powerful local significance, in an attempt to redefine notions like "border," "nation," "migration," "diaspora," etc. Looking at music and its performative power through the looking glass of cultural criticism allows this book to contribute to larger intellectual concerns and help redefine the field of U.S.-Mexico border studies beyond the North/South and American/Mexican dichotomies. Furthermore, the essays in this book problematize some of the widespread misconceptions about U.S.-Mexico border history and culture in the current debate about immigration.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="109545f650ea362ef95ceebc359c6286" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":32441363,"asset_id":1525569,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/32441363/download_file?st=MTczMzAyMzQ2Nyw4LjIyMi4yMDguMTQ2&st=MTczMzAyMzQ2Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="1525569"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="1525569"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 1525569; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=1525569]").text(description); $(".js-view-count[data-work-id=1525569]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 1525569; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='1525569']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 1525569, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "109545f650ea362ef95ceebc359c6286" } } $('.js-work-strip[data-work-id=1525569]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":1525569,"title":"\"Transnational Musical Encounters at the U.S.-Mexico Border\"","translated_title":"","metadata":{"abstract":"Through the study of a large variety of musical practices from the U.S.-Mexico border, Transnational Encounters seeks to provide a new perspective on the complex character of this geographic area. 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Against common misconceptions about the U.S.-Mexico border as a predominant Mexican area, this book argues that it is diversity and not homogeneity which characterizes it. From a wide variety of disciplinary and multidisciplinary enunciations, these essays explore the transnational connections that inform these musical cultures while keeping an eye on their powerful local significance, in an attempt to redefine notions like \"border,\" \"nation,\" \"migration,\" \"diaspora,\" etc. Looking at music and its performative power through the looking glass of cultural criticism allows this book to contribute to larger intellectual concerns and help redefine the field of U.S.-Mexico border studies beyond the North/South and American/Mexican dichotomies. 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Cultural Production, Distribution, and Consumption in a Globalized Scenario " class="work-thumbnail" src="https://attachments.academia-assets.com/32171117/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/1525567/Postnational_Musical_Identities_Cultural_Production_Distribution_and_Consumption_in_a_Globalized_Scenario">Postnational Musical Identities. Cultural Production, Distribution, and Consumption in a Globalized Scenario </a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">"Postnational Musical Identities gathers interdisciplinary essays that explore how music audience...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">"Postnational Musical Identities gathers interdisciplinary essays that explore how music audiences and markets are imagined in a globalized scenario, how music reflects and reflects upon new understandings of citizenship beyond the nation-state, and how music works as a site of resistance against globalization. <br />"Hybridity," "postnationalism," "transnationalism," "globalization," "diaspora," and similar buzzwords have not only informed scholarly discourse and analysis of music but also shaped the way musical productions have been marketed worldwide in recent times. While the construction of identities occupies a central position in this context, there are discrepancies between the conceptualization of music as an extremely fluid phenomenon and the traditionally monovalent notion of identity to which it has historically been incorporated. As such, music has always been linked to the construction of regional and national identities. The essays in this collection seek to explore the role of music, networks of music distribution, music markets, music consumption, music production, and music scholarship in the articulation of postnational sites of identification."</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="3883eda7bb5935b2d5335ac97c78d460" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":32171117,"asset_id":1525567,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/32171117/download_file?st=MTczMzAyMzQ2Nyw4LjIyMi4yMDguMTQ2&st=MTczMzAyMzQ2Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="1525567"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="1525567"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 1525567; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=1525567]").text(description); $(".js-view-count[data-work-id=1525567]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 1525567; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='1525567']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 1525567, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "3883eda7bb5935b2d5335ac97c78d460" } } $('.js-work-strip[data-work-id=1525567]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":1525567,"title":"Postnational Musical Identities. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="201340" id="articles"><div class="js-work-strip profile--work_container" data-work-id="104413645"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/104413645/Understanding_Music_Studies_Well_Being_and_the_Humanities_in_Times_of_Neoliberalism"><img alt="Research paper thumbnail of Understanding Music Studies, Well-Being, and the Humanities in Times of Neoliberalism" class="work-thumbnail" src="https://attachments.academia-assets.com/104150652/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/104413645/Understanding_Music_Studies_Well_Being_and_the_Humanities_in_Times_of_Neoliberalism">Understanding Music Studies, Well-Being, and the Humanities in Times of Neoliberalism</a></div><div class="wp-workCard_item"><span>Music and Human Flourishing</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This chapter asserts that a transdisciplinary approach to the study of music that enables scholar...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This chapter asserts that a transdisciplinary approach to the study of music that enables scholars to transcend the narrow sets of questions that musicology and music theory have traditionally privileged—concerns with aesthetic value and a perceived intrinsic worthiness of specific musical texts and practices—is essential in defining music studies as an endeavor relevant to larger intellectual projects in the humanities and social sciences. This transdisciplinary approach resonates with James Pawelski’s call for an alliance between the humanities and the science of well-being that would make “humanities scholarship more informed and more relevant to contemporary debates.” Pawelski’s definition of well-being in relation to “a society based on individual freedom and self-realization” and his attempts to engage quantitative evaluative methods, however, have neoliberal overtones. In response, this chapter offers an assessment of neoliberalism’s take on human flourishing and proposes alternative well-being strategies that privilege collective realization and avoid giving in to economic, political, and philosophical models that thrive on human precarity and conflict.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="fca3cb068ad3ede3459b04ca1e33b9df" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":104150652,"asset_id":104413645,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/104150652/download_file?st=MTczMzAyMzQ2Nyw4LjIyMi4yMDguMTQ2&st=MTczMzAyMzQ2Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="104413645"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="104413645"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 104413645; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=104413645]").text(description); $(".js-view-count[data-work-id=104413645]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 104413645; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='104413645']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 104413645, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "fca3cb068ad3ede3459b04ca1e33b9df" } } $('.js-work-strip[data-work-id=104413645]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":104413645,"title":"Understanding Music Studies, Well-Being, and the Humanities in Times of Neoliberalism","translated_title":"","metadata":{"abstract":"This chapter asserts that a transdisciplinary approach to the study of music that enables scholars to transcend the narrow sets of questions that musicology and music theory have traditionally privileged—concerns with aesthetic value and a perceived intrinsic worthiness of specific musical texts and practices—is essential in defining music studies as an endeavor relevant to larger intellectual projects in the humanities and social sciences. 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Mendoza y Hacia una nueva música/Toward a New Music (1932-1937) de Carlos Chávez. En el contexto de la reconceptualización de la noción de archivo musical o archivo sonoro a partir de la escucha y la imaginación de la escucha, este artículo explora la posibilidad de acercarse a esos dos libros de manera relacional como archivos de aspiraciones y deseos. Esta constelación archivística nos ofrece un punto de entrada para comprender la relación performativa entre modernidad y tradición que informa el desarrollo de la narrativa nacionalista mexicana posrevolucionaria. El artículo sugiere que la invención del pasado en contrapunto con la imaginación del futuro que la escritura de estos libros pone en evidencia es una clave fundamental para entender el esencialismo de las aspiraciones que ha informado la historiografía musical mexicana de los últimos noventa años.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="0f48ea86483b97ecc2288d2d84198c42" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":77088152,"asset_id":65536177,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/77088152/download_file?st=MTczMzAyMzQ2Nyw4LjIyMi4yMDguMTQ2&st=MTczMzAyMzQ2Niw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="65536177"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="65536177"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 65536177; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=65536177]").text(description); $(".js-view-count[data-work-id=65536177]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 65536177; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='65536177']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 65536177, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "0f48ea86483b97ecc2288d2d84198c42" } } $('.js-work-strip[data-work-id=65536177]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":65536177,"title":"\"Rastreando las huellas de la escucha performativa: la escritura como constelación archivística\"","translated_title":"","metadata":{"doi":"10.3989/anuariomusical","abstract":"Este artículo plantea una revisión de la historiografía musical nacionalista mexicana tomando como punto de partida un análisis comparativo de dos libros publicados en Ciudad de México a principios de la década de 1930, Instrumental precortesiano (1933) de Daniel Castañeda y Vicente T. 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Caminando sobre la delgada línea entre literatura y “ciencia auxiliar”, la biografía musical ha sido en momentos apreciada y en momentos denostada como parte del proyecto intelectual más amplio de la musicología. Sin embargo, es innegable que las biografías sobre músicos han ocupado mucha de la tinta y el papel que los estudiosos de la música han gastado en las últimas dos o tres centurias, y en ese trayecto ha sobrevivido a las transformaciones más importantes de la musicología como campo de estudios. Sin embargo, en un momento en el que la musicología crítica y los sound studies se desmarcan de la celebración de los “grandes hombres de la historia” y de la reproducción de teleologías eurocéntricas, y en un momento en que muchos campos de conocimiento en las humanidades y ciencias sociales han adoptado como suyos los reclamos antirracistas de movimientos como Black Lives Matter y las protestas contra la violencia de género de #MeToo, parecería que el género biográfico pudiera perder su centralidad en la disciplina. Tomando como caso de estudio mi escritura de la biografía de la compositora cubano-americana Tania León (n. 1943), este trabajo cuestiona la relevancia actual y la viabilidad futura de un género que ontológicamente pareciera imposibilitado para transitar exitosamente por las veredas que los giros epistemológicos más recientes proponen en la musicología.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="81893602606181900977300a1218c766" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":66268252,"asset_id":46869087,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/66268252/download_file?st=MTczMzAyMzQ2Nyw4LjIyMi4yMDguMTQ2&st=MTczMzAyMzQ2Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="46869087"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="46869087"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 46869087; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=46869087]").text(description); $(".js-view-count[data-work-id=46869087]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 46869087; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='46869087']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 46869087, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "81893602606181900977300a1218c766" } } $('.js-work-strip[data-work-id=46869087]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":46869087,"title":"Entre/tejiendo vidas y discursos: Notas y reflexiones en torno a la biografía y la anti-biografía musical","translated_title":"","metadata":{"issue":"1","volume":"22","abstract":"La posición de los estudios biográficos dentro de la musicología ha sido ambigua desde el inicio de la disciplina a finales del siglo XIX hasta la actualidad. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="41662116"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/41662116/Listening_from_The_Other_Side_Music_Border_Studies_and_the_Limits_of_Identity_Politics"><img alt="Research paper thumbnail of Listening from 'The Other Side': Music, Border Studies, and the Limits of Identity Politics" class="work-thumbnail" src="https://attachments.academia-assets.com/61816562/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/41662116/Listening_from_The_Other_Side_Music_Border_Studies_and_the_Limits_of_Identity_Politics">Listening from 'The Other Side': Music, Border Studies, and the Limits of Identity Politics</a></div><div class="wp-workCard_item"><span>Decentering the Nation: Music, Mexicanidad, and Globalization, ed. by Jesús Ramos-Kittrell</span><span>, 2020</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="0a692f0082850c1a6e43a6fa165ba3a9" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61816562,"asset_id":41662116,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61816562/download_file?st=MTczMzAyMzQ2Nyw4LjIyMi4yMDguMTQ2&st=MTczMzAyMzQ2Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41662116"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41662116"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41662116; 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The review report...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">On April 7, 1965, Federico Smith published a music review in the newspaper Hoy. The review reported on three events: an upcoming clarinet and piano concert, a guitar recital, and the representation of the musical comedy Mi solar. The clarinet and piano concert, featuring Paquito D’Rivera and Tania León, was to be the launching event of the Brigada Hermanos Saíz’s music program. The guitar recital, played by Leo Brouwer and Jesús Ortega, presented the world premiere of Brouwer’s Micropiezas, now a classic set of pieces for two guitars. Finally, the representations of Mi solar featured the Conjunto Experimental de Danza, an activist dance troupe advocating for an avant-garde approach to aesthetic questions of national identity. Inspired on ideas by Hans Ulrich Gumbrecht, Carlo Ginzburg, and Clifford Geertz, this paper takes this review as a micro-universe, a sort of synecdoche of Cuban musical practice and cultural policy in 1965. In doing that I argue for a microhistorical approach to the materiality of Smith’s journalistic note —a thick description that focuses not only on the artistic actions depicted in the note but also on the fortuitous political circumstances and life events that led to the very existence of this review. I suggest that such an approach would make a short and apparently innocuous piece of cultural journalism into a point of entry to discuss the intersection of music, culture, politics, creativity, experimentation, and innovation that fueled artistic life during the most utopian period of the Cuban revolution.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c34bbca2d6bccf01965a461e9ccf1297" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":59881249,"asset_id":39708655,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/59881249/download_file?st=MTczMzAyMzQ2Nyw4LjIyMi4yMDguMTQ2&st=MTczMzAyMzQ2Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39708655"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39708655"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39708655; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=39708655]").text(description); $(".js-view-count[data-work-id=39708655]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 39708655; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='39708655']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 39708655, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c34bbca2d6bccf01965a461e9ccf1297" } } $('.js-work-strip[data-work-id=39708655]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":39708655,"title":"Sinécdoque, microhistoria y una reseña musical de 1965","translated_title":"","metadata":{"issue":"44","volume":"23","abstract":"On April 7, 1965, Federico Smith published a music review in the newspaper Hoy. 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In doing that I argue for a microhistorical approach to the materiality of Smith’s journalistic note —a thick description that focuses not only on the artistic actions depicted in the note but also on the fortuitous political circumstances and life events that led to the very existence of this review. I suggest that such an approach would make a short and apparently innocuous piece of cultural journalism into a point of entry to discuss the intersection of music, culture, politics, creativity, experimentation, and innovation that fueled artistic life during the most utopian period of the Cuban revolution. ","page_numbers":"143-150","publication_date":{"day":null,"month":null,"year":2019,"errors":{}},"publication_name":"Resonancias"},"translated_abstract":"On April 7, 1965, Federico Smith published a music review in the newspaper Hoy. The review reported on three events: an upcoming clarinet and piano concert, a guitar recital, and the representation of the musical comedy Mi solar. The clarinet and piano concert, featuring Paquito D’Rivera and Tania León, was to be the launching event of the Brigada Hermanos Saíz’s music program. The guitar recital, played by Leo Brouwer and Jesús Ortega, presented the world premiere of Brouwer’s Micropiezas, now a classic set of pieces for two guitars. Finally, the representations of Mi solar featured the Conjunto Experimental de Danza, an activist dance troupe advocating for an avant-garde approach to aesthetic questions of national identity. Inspired on ideas by Hans Ulrich Gumbrecht, Carlo Ginzburg, and Clifford Geertz, this paper takes this review as a micro-universe, a sort of synecdoche of Cuban musical practice and cultural policy in 1965. In doing that I argue for a microhistorical approach to the materiality of Smith’s journalistic note —a thick description that focuses not only on the artistic actions depicted in the note but also on the fortuitous political circumstances and life events that led to the very existence of this review. I suggest that such an approach would make a short and apparently innocuous piece of cultural journalism into a point of entry to discuss the intersection of music, culture, politics, creativity, experimentation, and innovation that fueled artistic life during the most utopian period of the Cuban revolution. 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Madrid</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://ucsd.academia.edu/PepeRojo">Pepe Rojo</a></span></div><div class="wp-workCard_item"><span>Experimentalisms in Practice. Music Perspectives from Latin America</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This article focuses on the process of production of Café Tacvba’s album Revés/Yosoy to study how...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This article focuses on the process of production of Café Tacvba’s album Revés/Yosoy to study how sonic and stylistic experimentation works to reverse the audiences’ listening experience, forcing them to hear familiar sounds from the perspective of the Other. The authors take Viktor Shklovsky’s notion of ostranenie (defamiliarization or estrangement) to argue that, by transforming and decontextualizing sounds and musical styles that mainstream audiences connect to specific traditional practices, Café Tacvba allows listeners to hear fantastic new possibilities in everyday sounds, thus lengthening their aesthetic horizon. The authors analyze estrangement in the process of production of this album in order to explore how estrangement provides it with a subversive character that challenges the expectations that the global neo-liberal entertainment industry placed on a band that was an icon of the Rock en Español marketing strategy of the 1990s.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="ba7669cc67819b41b2513f1bf1e1186a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57167812,"asset_id":37217079,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57167812/download_file?st=MTczMzAyMzQ2Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37217079"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37217079"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37217079; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37217079]").text(description); $(".js-view-count[data-work-id=37217079]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37217079; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='37217079']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 37217079, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "ba7669cc67819b41b2513f1bf1e1186a" } } $('.js-work-strip[data-work-id=37217079]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":37217079,"title":"Experimentalism as Estrangement: Café Tacvba's Revés/Yosoy","translated_title":"","metadata":{"abstract":"This article focuses on the process of production of Café Tacvba’s album Revés/Yosoy to study how sonic and stylistic experimentation works to reverse the audiences’ listening experience, forcing them to hear familiar sounds from the perspective of the Other. 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One could begin measuring his success through the numerous Billboard, Grammy, Latin Grammy, and MTV awards, and more than 1500 Golden, Platinum, and Multi-Platinum Records. The excesses one witnesses in Juan Gabriel’s commercial success are analogous to the stylistic excesses one observes in his vocality and the performance of his musical persona. This article focuses on these excesses and examines them in relation to mainstream ideas about masculinity in Mexico and Latin America. Relating Juan Gabriel’s symbolic excess in performance to the Marxist idea of surplus, this article takes the singer’s vocality as a case study to theorize the notion of jotería as a libidinal economy of excesses that puts in evidence the contradictions, silences, and absences of the Mexican and Latin American heteronormative fantasies.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e0f4c228946e7f7e32983a7d611e9ec6" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57116073,"asset_id":37164982,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57116073/download_file?st=MTczMzAyMzQ2Nyw4LjIyMi4yMDguMTQ2&st=MTczMzAyMzQ2Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37164982"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37164982"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37164982; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37164982]").text(description); $(".js-view-count[data-work-id=37164982]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37164982; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='37164982']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 37164982, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e0f4c228946e7f7e32983a7d611e9ec6" } } $('.js-work-strip[data-work-id=37164982]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":37164982,"title":"Secreto a voces: Excess, Performance, and Jotería in Juan Gabriel's Vocality","translated_title":"","metadata":{"issue":"1","volume":"24","abstract":"Juan Gabriel is arguably the most successful Mexican singer, songwriter, and producer of the last three decades of the twentieth century. 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These issues are analyzed vis-à-vis the contemporary attack on the humanities in U.S. academia in order to propose alternative approaches to music education and scholarship that work as critical models to the colonialist perspective that has informed music academia for generations and to the neo-liberal project that has been slowly taking over academia in the last twenty years.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="0c78ed90c010c70b908f945cc404ffa4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":52473650,"asset_id":32189283,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/52473650/download_file?st=MTczMzAyMzQ2Nyw4LjIyMi4yMDguMTQ2&st=MTczMzAyMzQ2Nyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="32189283"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="32189283"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 32189283; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=32189283]").text(description); $(".js-view-count[data-work-id=32189283]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 32189283; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='32189283']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 32189283, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "0c78ed90c010c70b908f945cc404ffa4" } } $('.js-work-strip[data-work-id=32189283]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":32189283,"title":"Diversity, Tokenism, Non-Canonical Musics, and the Crisis of the Humanities in U.S. Academia","translated_title":"","metadata":{"issue":"2","volume":"7","abstract":"Taking as a point of departure the question of whether Ibero-American music should have a more prominent presence in music history sequences currently taught at U.S. institutions of higher education this essay explores questions about diversity and tokenism in the reproduction of mainstream models of knowledge production. 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Madrid y Robin D. Moore) ofrece una historia del danzón y propone que en vez de que esta música sea abordada como un género, debe ser entendida como parte de un complejo de performance. El artículo también presenta una discusión comparada sobre prácticas interpretativas musicales del danzón en Cuba y México entre las décadas de los 1850s y 1950s.  / This article (a Spanish translation of the first chapter of Danzón: Circum-Caribbean Dialogues in Music and Dance by Alejandro L. Madrid and Robin D. Moore) offers a history of the danzón and proposes that instead of looking at it as a genre it should be understood as a performance complex. The article continues with an extended discussion of the danzón’s performance practice in Cuba and Mexico between the 1850s and about 1950.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="44398fb6be58a8d12736a39b87277958" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":50957707,"asset_id":30510867,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/50957707/download_file?st=MTczMzAyMzQ2OCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="30510867"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="30510867"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 30510867; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=30510867]").text(description); $(".js-view-count[data-work-id=30510867]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 30510867; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='30510867']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 30510867, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "44398fb6be58a8d12736a39b87277958" } } $('.js-work-strip[data-work-id=30510867]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":30510867,"title":"Cuestiones de género: el danzón como un complejo de performance","translated_title":"","metadata":{"issue":"42-43","abstract":"Este artículo (una traducción del primer capítulo del libro Danzón: Circum-Caribbean Dialogues in Music and Dance de Alejandro L. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="29332337"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/29332337/Landscapes_and_Gimmicks_from_the_Sounded_City_Listening_for_the_Nation_at_the_Sound_Archive"><img alt="Research paper thumbnail of Landscapes and Gimmicks from the “Sounded City”: Listening for the Nation at the Sound Archive" class="work-thumbnail" src="https://attachments.academia-assets.com/51038283/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/29332337/Landscapes_and_Gimmicks_from_the_Sounded_City_Listening_for_the_Nation_at_the_Sound_Archive">Landscapes and Gimmicks from the “Sounded City”: Listening for the Nation at the Sound Archive</a></div><div class="wp-workCard_item"><span>Sound Studies</span><span>, 2016</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">By focusing on a soundscapes project started by Mexico City’s Radio Educación in 2006 and current...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">By focusing on a soundscapes project started by Mexico City’s Radio Educación in 2006 and currently continued by Mexico’s Fonoteca Nacional, this essay investigates the social organization of urban spaces through sound and the use of sound. The discussion focuses on soundscapes as both descriptive as well as performative interventions that speak of socially informed models that organize urban space and our perception of it. In doing this I invoke Angel Rama’s classic characterization of the ‘lettered’ city as a ‘sounded’ city and argue that this conceptualization may help us problematize how some of these forms of aurality are shaped, controlled, and circulated within older networks of national power. I also examine their potential to engage denationalized or post-national circulations of knowledge through sound that allow for the establishment of new networks of ‘cultured’ belonging and distinction beyond national borders.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9175eb47114b0640b039f8263ee0828a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":51038283,"asset_id":29332337,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/51038283/download_file?st=MTczMzAyMzQ2OCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="29332337"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="29332337"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 29332337; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=29332337]").text(description); $(".js-view-count[data-work-id=29332337]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 29332337; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='29332337']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 29332337, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "9175eb47114b0640b039f8263ee0828a" } } $('.js-work-strip[data-work-id=29332337]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":29332337,"title":"Landscapes and Gimmicks from the “Sounded City”: Listening for the Nation at the Sound Archive","translated_title":"","metadata":{"issue":"2","volume":"2","abstract":"By focusing on a soundscapes project started by Mexico City’s Radio Educación in 2006 and currently continued by Mexico’s Fonoteca Nacional, this essay investigates the social organization of urban spaces through sound and the use of sound. 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Scenes of a Migrant Latin American Genre, ed. by Héctor Fernández L'Hoeste and Pablo VIla</span><span>, 2013</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b030c5bdf9ea9f88896602da25409d50" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":31991383,"asset_id":4643030,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/31991383/download_file?st=MTczMzAyMzQ2OCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="4643030"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="4643030"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 4643030; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=4643030]").text(description); $(".js-view-count[data-work-id=4643030]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 4643030; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='4643030']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 4643030, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "b030c5bdf9ea9f88896602da25409d50" } } $('.js-work-strip[data-work-id=4643030]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":4643030,"title":"Rigo Tovar, Cumbia, and the Transnational Grupero Boom","translated_title":"","metadata":{"publisher":"Duke University Press","publication_date":{"day":null,"month":null,"year":2013,"errors":{}},"publication_name":"Cumbia! 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El primero, a finales de los años 70, en el que un presentador de la televisión mexicana se vuelve el centro de una polémica mediática cuando, al finalizar la ejecución de una pieza musical del llamado Sonido 13, anuncia que los televidentes han estado llamando al programa para decir que mientras se transmitía la música sus animales se volvieron locos: los perros no dejaban de aullar, y los canarios volaban estrellándose contra las rejas de sus jaulas. En el segundo, a principios de 1924, el compositor mexicano Julián Carrillo lanza una cruzada para cambiar el nombre del continente de América a Colombia; esta batalla cultural se da desde las páginas de la revista El Sonido 13, y de manera paralela a la cruzada por la difusión de la música microtonal del compositor. El tercero se da en 1905 cuando el compositor y crítico musical Melesio Morales escribe una crítica despiadada después del estreno de la Sinfonía No. 1 de Julián Carrillo; los ataques se centran en el carácter alemán de la sinfonía, que de acuerdo a Morales es música de la que los mexicanos ni gustan ni disfrutan (A. Maya, 1994, p. 148). El cuarto es la presentación a principios de los años 80 del LP Música infinita del baterista de jazz mexicano Tino Contreras, producido por Estrella Newman, en el que se combinan de manera poco previsible la estética del jazz con las arpas armónicas del Sonido 13 en un tributo a las tradiciones de los mexicas. ¿Qué relación pueden tener estos cuatro eventos entre sí habiendo tantos años de distancia entre ellos? Evidentemente los cuatro eventos tienen como eje la figura de Julián Carrillo o su sistema musical microtonal conocido como Sonido 13. 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Alejandro L. Madrid argues that these modernist works provide insight into the construction of individual and collective identities based on new ideas about modernity and nationality. Instead of depicting a dichotomy between modernity and nationalism, Madrid reflects on the multiple intersections between these two ideas and the dialogic ways through which these notions acquired meaning. Madrid challenges the view that Latin American modernist music and other art were mere imitations of European trends, advancing instead the argument that Latin American artists resignified European ideas according to their specific historical and cultural circumstances. 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Estos asuntos se analizan en relación con el ataque contemporáneo a las humanidades en la academia estadounidense, con el fin de proponer aproximaciones alternativas a la educación y la labor académica que funcionen como modelos críticos de la perspectiva colonialista que ha informado la educación musical por generaciones y el proyecto neoliberal que poco a poco se ha impuesto sobre la academia en los últimos veinte años.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1621b56e3e12349ead8a8da1eb152b46" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":99685160,"asset_id":98293976,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/99685160/download_file?st=MTczMzAyMzQ2OSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="98293976"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="98293976"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 98293976; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=98293976]").text(description); $(".js-view-count[data-work-id=98293976]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 98293976; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='98293976']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 98293976, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "1621b56e3e12349ead8a8da1eb152b46" } } $('.js-work-strip[data-work-id=98293976]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":98293976,"title":"Diversidad, tokenismo, músicas no canónicas, y la crisis de las humanidades en la academia estadounidense","translated_title":"","metadata":{"abstract":"Tomando como punto de partida la pregunta ¿las músicas iberoamericanas deberían tener una mayor presencia en los cursos de historia de la música que actualmente se enseñan en los Estados Unidos?, este ensayo analiza asuntos como la diversidad y el tokenismo en la réplica de los principales modelos de producción del conocimiento. 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Madrid</a></span></div><div class="wp-workCard_item"><span>Journal of the American Musicological Society</span><span>, 2011</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">... experience, along with my discussions after conference hours with experimentalist Mexican com...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">... experience, along with my discussions after conference hours with experimentalist Mexican composer-improvisors such as Remi Alvarez and Roberto Morales-Manzanares ... the canon in an attempt to make it “more inclusive.” In his recent updates of Grout and Palisca&#x27;s classic A ...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="25973288"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="25973288"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 25973288; 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Madrid</a></span></div><div class="wp-workCard_item"><span>Experimentalisms in Practice: Music Perspectives from Latin America</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This chapter introduces the main theoretical issues discussed in the book and puts them in dialog...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This chapter introduces the main theoretical issues discussed in the book and puts them in dialogue with contemporary discussions about them. The book’s adoption of the plural term “experimentalisms” points toward a purposeful decentering of the usual US and Eurocentric interpretative frameworks. The case studies in this volume contribute to this by challenging discourses about Latin@s and Latin Americans and experimentalism that have historically marginalized them. As such, the notion of “experimentalisms” works as a performative operation of sound, soundings, music, and musicking that gives social and historical meaning to the networks it temporarily conforms and situates. 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