Experimentalisms in Practice
Music Perspectives from Latin America
Published on 29. March 2018
Book
Hardback
370 pages
978-0-19-084274-1 (ISBN)
Description
Experimentalisms in Practice explores the multiple sites in which experimentalism emerges and becomes meaningful beyond Eurocentric interpretative frameworks. Challenging the notion of experimentalism as defined in conventional narratives, contributors take a broad approach to a wide variety of Latin@ and Latin American music traditions conceived or perceived as experimental. The conversation takes as starting point the 1960s, a decade that marks a crucial political and epistemological moment for Latin America; militant and committed aesthetic practices resonated with this moment, resulting in a multiplicity of artistic and musical experimental expressions.
Experimentalisms in Practice responds to recent efforts to reframe and reconceptualize the study of experimental music in terms of epistemological perspective and geographic scope, while also engaging traditional scholarship. This book contributes to the current conversations about music experimentalism while providing new points of entry to further reevaluate the field.
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.
Reviews / Votes
as an intervention on a brittle canon, Experimentalisms In Practice marks a moment of raw possibility. * Sam Mackay, The Wire *More details
Language
English
Place of publication
New York
United States
Target group
Professional and scholarly
Dimensions
Height: 240 mm
Width: 161 mm
Thickness: 24 mm
Weight
716 gr
ISBN-13
978-0-19-084274-1 (9780190842741)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
Other editions
Additional editions
Ana R. Alonso-Minutti | Eduardo Herrera | Alejandro L. Madrid
Experimentalisms in Practice
Music Perspectives from Latin America
Book
04/2018
Oxford University Press Inc
€70.80
Shipment within 15-20 days
Ana R. Alonso-Minutti | Eduardo Herrera | Alejandro L. Madrid
Experimentalisms in Practice
Music Perspectives from Latin America
E-Book
01/2018
OUP eBook
€31.49
Available for download
Ana R. Alonso-Minutti | Eduardo Herrera | Alejandro L. Madrid
Experimentalisms in Practice
Music Perspectives from Latin America
E-Book
01/2018
OUP eBook
€31.49
Available for download
Persons
Ana R. Alonso-Minutti is a music scholar who combines musicological and ethnomusicological inquiries into the study of contemporary musical practices across the Americas. Her research focuses on experimental and avant-garde expressions, music traditions from Mexico and the US-Mexico border, and music history pedagogy. She has presented her work in the Americas and Europe and has published her research in English and Spanish venues. She is assistant professor of music and faculty affiliate of the Latin American and Iberian Institute at the University of New Mexico.
Eduardo Herrera is assistant professor in ethnomusicology and music history at Rutgers, The State University of New Jersey. He specializes in contemporary musical practices from Latin America. His research interests include music and gender, art and the legitimation of elites, and music during the Cold War. He has done historical and ethnographic research in topics including Argentinean and Uruguayan avant-garde music, masculinity and violence in participatory chanting in soccer stadiums, and music and postcoloniality in Latin America.
Alejandro L. Madrid is a music scholar whose research focuses on the intersection of modernity, tradition and globalization in music and expressive culture from Mexico, the U.S.-Mexico border, and the circum-Caribbean. His books have received the AMS's Robert M. Stevenson and Ruth A. Solie awards, the Bela Bartok Award from the ASCAP Foundation, the Mexico Humanities Book award from LASA, IASPM's Woody Guthrie Book Award, and the Casa de las Americas Musicology Prize. He is professor of musicology and ethnomusicology at Cornell University.
Eduardo Herrera is assistant professor in ethnomusicology and music history at Rutgers, The State University of New Jersey. He specializes in contemporary musical practices from Latin America. His research interests include music and gender, art and the legitimation of elites, and music during the Cold War. He has done historical and ethnographic research in topics including Argentinean and Uruguayan avant-garde music, masculinity and violence in participatory chanting in soccer stadiums, and music and postcoloniality in Latin America.
Alejandro L. Madrid is a music scholar whose research focuses on the intersection of modernity, tradition and globalization in music and expressive culture from Mexico, the U.S.-Mexico border, and the circum-Caribbean. His books have received the AMS's Robert M. Stevenson and Ruth A. Solie awards, the Bela Bartok Award from the ASCAP Foundation, the Mexico Humanities Book award from LASA, IASPM's Woody Guthrie Book Award, and the Casa de las Americas Musicology Prize. He is professor of musicology and ethnomusicology at Cornell University.
Content
List of Figures
List of Music Examples
List of Tables
List of Contributors
Acknowledgements
About the Companion Website
Chapter 1. The Practices of Experimentalism in Latin@ and Latin American Music: An Introduction
by Ana R. Alonso-Minutti, Eduardo Herrera, and Alejandro L. Madrid
I. Centers and Institutions
Chapter 2. "That's Not Something to Show in a Concert": Experimentation and Legitimacy at the Centro Latinoamericano de Altos Estudios Musicales
by Eduardo Herrera
Chapter 3. Experimental Alternatives: Institutionalism, Avant-gardism, and Popular Music at the Margins of the Cuban Revolution
by Susan Thomas
II. Beyond the Limits of Hybridity
Chapter 4. "I Go against the Grain of Your Memory": Iconoclastic Experiments with Traditional Sounds in Northeast Brazil
by Dan Sharp
Chapter 5. Peruvian Cumbia at the Theoretical Limits of Techno-Utopian Hybridity
by Joshua Tucker
Chapter 6. Experimentalism as Estrangement: Cafe Tacvba's Reves/Yosoy
by Alejandro L. Madrid and Pepe Rojo
III. Anti-Colonial Practices
Chapter 7. "Gatas y Vatas": Female Empowerment and Community-Oriented Experimentalism
by Ana R. Alonso-Minutti
Chapter 8. Noise, Sonic Experimentation, and Interior Coloniality in Costa Rica
by Susan Campos Fonseca
IV. Performance, Movements, and Scenes
Chapter 9. "We Began from Silence": Toward a Genealogy of Free Improvisation in Mexico City: Atras del Cosmos at Teatro El Galeon, 1975-1977
by Tamar Barzel
Chapter 10. Experimentation and Improvisation in Bogota at the End of the Twentieth Century
by Rodolfo Acosta
Chapter 11. Experimental Music and the Avant-garde in Post-1959 Cuba: Revolutionary Music for the Revolution
by Marysol Quevedo
Chapter 12. Performance, Resistance, and the Sounding of Public Space: Movimiento Musica Mas in Buenos Aires, 1969-73
by Andrew Raffo Dewar
Chapter 13. Afterword: Locating Hemispheric Experimentalisms
by Benjamin Piekut
Bibliography
List of Music Examples
List of Tables
List of Contributors
Acknowledgements
About the Companion Website
Chapter 1. The Practices of Experimentalism in Latin@ and Latin American Music: An Introduction
by Ana R. Alonso-Minutti, Eduardo Herrera, and Alejandro L. Madrid
I. Centers and Institutions
Chapter 2. "That's Not Something to Show in a Concert": Experimentation and Legitimacy at the Centro Latinoamericano de Altos Estudios Musicales
by Eduardo Herrera
Chapter 3. Experimental Alternatives: Institutionalism, Avant-gardism, and Popular Music at the Margins of the Cuban Revolution
by Susan Thomas
II. Beyond the Limits of Hybridity
Chapter 4. "I Go against the Grain of Your Memory": Iconoclastic Experiments with Traditional Sounds in Northeast Brazil
by Dan Sharp
Chapter 5. Peruvian Cumbia at the Theoretical Limits of Techno-Utopian Hybridity
by Joshua Tucker
Chapter 6. Experimentalism as Estrangement: Cafe Tacvba's Reves/Yosoy
by Alejandro L. Madrid and Pepe Rojo
III. Anti-Colonial Practices
Chapter 7. "Gatas y Vatas": Female Empowerment and Community-Oriented Experimentalism
by Ana R. Alonso-Minutti
Chapter 8. Noise, Sonic Experimentation, and Interior Coloniality in Costa Rica
by Susan Campos Fonseca
IV. Performance, Movements, and Scenes
Chapter 9. "We Began from Silence": Toward a Genealogy of Free Improvisation in Mexico City: Atras del Cosmos at Teatro El Galeon, 1975-1977
by Tamar Barzel
Chapter 10. Experimentation and Improvisation in Bogota at the End of the Twentieth Century
by Rodolfo Acosta
Chapter 11. Experimental Music and the Avant-garde in Post-1959 Cuba: Revolutionary Music for the Revolution
by Marysol Quevedo
Chapter 12. Performance, Resistance, and the Sounding of Public Space: Movimiento Musica Mas in Buenos Aires, 1969-73
by Andrew Raffo Dewar
Chapter 13. Afterword: Locating Hemispheric Experimentalisms
by Benjamin Piekut
Bibliography