Relevant bibliographies by topics / Guitar music South America

Academic literature on the topic 'Guitar music South America'

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Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Guitar music South America"

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Filatova, Tetiana. "Guitar Music of Celso Garrido-Lecca: Modern Projections of Peruan Traditions." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 134 (November 17, 2022): 139–54. http://dx.doi.org/10.31318/2522-4190.2022.134.269653.

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The relevance of the article is to deepen the analytical aspect of knowledge about Peruan guitar music of the late 20th – early 21st centuries in the context of the renewal of genre traditions of Andean music on the example of works by Celso Garrido-Lecca. Main objective of the study is to determine the influence of Peruvian traditions on the guitar music of Celso Garrido-Lecca in the conditions of modern creative contexts. The methodology includes methods of historical, comparative, phenomenological, structural and functional analysis for: contextual consideration of the composer's creative activity; study of genre and style elements of Peruvian music traditions of folk, professional and non-academic origin in their interaction with the academic language of new music; comparison of the genealogy of rhythmic structures and their manifestations in the researched works; correlation of associative-figurative series with timbral connotations, specific genres and intonation and chord patterns. Results and conclusions. The study of the guitar music of the contemporary Peruvian composer Celso Garrido-Lecca performed by masters of academic art opens interesting pages of the new South American repertoire. Loyalty to the folklore traditions of his country, the study of timbre specificity and aesthetics of the Andean sound, the organology of ancient aerophones and local analogues of the charango, the collective practice of music making, as well as the ethnic language elements of the music of the coastal regions have affected the author's guitar works. Household traditions of Peruvian culture are identified in the sound atmosphere of the new vocabulary of the European model - polytonal “collage” music layers, constructivist modal octatonic arrangements, in the context of serial elements and polystylistic overlays of “foreign” texts. The genealogy of the rhythms deciphered in the composer's guitar opuses indicates a closeness to specific genre features: the Andean rhythm formulas of the huáyno, the Afro-Peruvian festejo, the ancient figures of the landó, the Creole samacueca, the tondero and the marinera with Iberian roots. The author resorted to quoting folklore sources in "Popular Andean Dances" with their updating with musical means of modern vocabulary; imitated the timbres of Andean flute orchestras in the cycle “Poetics” in the guitar parts; introduced the Andean charango of the Ayacuchan model into the scores of the orchestral versions of his suites; in the part of the instrumental duet of charango and guitar. In Celso Garrido-Lecca's guitar works, syntheses of archaic thinking of folkloric Andean chants, hybrid origins of poetics of local Creole and Afro-Peruvian rhythms with new language and intonation paradigms of academic art are organically embodied. Research perspectives are seen in the study of the influence of Peruvian culture on the modern non-academic traditions.
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VERMAZEN, BRUCE. "“Those Entertaining Frisco Boys”: Hedges Brothers and Jacobson." Journal of the Society for American Music 7, no. 1 (February 2013): 29–63. http://dx.doi.org/10.1017/s1752196312000478.

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AbstractCharles Frederick (Freddie) Hedges (1886–1920), his brother Elven Everett Hedges (1889–1931), and Jesse Jacobson (1882–1959) converged as Hedges Brothers and Jacobson in 1910 in San Francisco. Elven played piano, saxophone, and guitar, and all three sang and danced. In 1910–11, critics in San Francisco, Chicago, New York, and smaller cities greeted the act as something new and exceptionally good. Instead of pursuing more general fame in North America, the trio accepted a music-hall contract in England, where they became leaders in creating a craze for American ragtime singing, a craze that prepared the English public for the momentous arrival of jazz after the First World War. The trio recorded eight released songs for Columbia in 1912–13. In 1913, they also performed in Paris and South Africa. In 1914, after eight months back in the United States, they returned to English success but soon dissolved the act and performed separately until 1919, when they reunited to accept an unprecedented contract (£30,000 for six years). Early in 1920, Freddie killed himself. Forest Tell (b. 1888) replaced him in the trio, and the new group recorded six released songs for Zonophone in 1920. The trio disbanded at the end of the contract. Elven retired shortly afterward, but Jesse stayed in show business at least through World War II.
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Deloria, Philip J. "T.C. Cannon’s Guitar." Arts 8, no. 4 (October 14, 2019): 132. http://dx.doi.org/10.3390/arts8040132.

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How might we understand the art—and perhaps something of the life—of Kiowa/Caddo artist T.C. Cannon by centering his engagement with music and in particular with a meditation on Cannon’s 000-18 Martin guitar, which greeted visitors to the landmark exhibition, T.C. Cannon: At the Edge of America? In the form of a personal reflective essay, T.C. Cannon’s Guitar contemplates my own history with similar guitars, songs from the folk-songwriter tradition, and questions of multi-media crossings—art, music, text, object—that demonstrate revealing stylistic affinities. The essay explores intergenerational relations between myself, Cannon, and my father Vine Deloria, Jr., the three of us evenly spaced over the course of the late twentieth century, and it does so in an effort to understand something about the historical impulses of the period between 1965 and 1978. In that moment—accessible to me through memories of affects more than memories of actions—Native politics and art were both figuring out ways to honor the past while making it new, creating distinctive forms that we can recognize around concepts such as survivance, sovereignty, and indigenous modernism.
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Briley, Ron. "The Guitar in America: Victorian Era to Jazz Age." Popular Music and Society 33, no. 1 (February 2010): 107–8. http://dx.doi.org/10.1080/03007760903478564.

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De Dadelsen, Jean-Paul, and Marilyn Hacker. "The End Of The Day/South America: High Plateaus, Guitar." Poem 1, no. 4 (January 2013): 18–21. http://dx.doi.org/10.1080/20519842.2013.11415398.

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Kronenberg, Clive. "GUITAR COMPOSER LEO BROUWER: THE CONCEPT OF A ‘UNIVERSAL LANGUAGE’." Tempo 62, no. 245 (July 2008): 30–46. http://dx.doi.org/10.1017/s004029820800017x.

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In the realm of art music, Leo Brouwer (1939-) is widely considered as the most significant living composer for the guitar. Since the latter part of the 20th century, students of the guitar at most, if not all, recognized music institutions have increasingly sought to perform Brouwer's works. Correspondingly, at the South African College of Music (University of Cape Town) respected instructors like Elspeth Jack, Neefa van der Schyff, and others, have over many years consistently and devotedly incorporated Brouwer's guitar literature into their teaching programmes. Cape Town's prized composer-conductor Alan Stephenson has similarly developed a keen interest in Brouwer's large-scale works, inspiring in 1998 a memorable rendition of Brouwer's acclaimed Elegiaco Concerto, performed by the talented soloist Christiaan Van der Vyver and the University of Cape Town Orchestra. In line with this, one of Brouwer's underlying goals has been to create works that are accessible to players of varying standards of performance. As a consequence, young, inexperienced, moderate, advanced as well as top internationally-acclaimed virtuosic players have all found some measure of contentment in performing Brouwer's guitar works.
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Bower, Rudi. "Between Scylla and Charybdis: a South African perspective on guitar building." Journal of Musical Arts in Africa 6, no. 1 (December 1, 2009): 1–33. http://dx.doi.org/10.2989/jmaa.2009.6.1.1.1053.

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Mellers, Wilfrid, Lisa M. Peppercorn, and Villa-Lobos. "Letters from (South) America." Musical Times 138, no. 1858 (December 1997): 18. http://dx.doi.org/10.2307/1004053.

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Behague, Gerard, Dale A. Olsen, and Daniel E. Sheehy. "South America, Mexico, Central America, and the Caribbean." Latin American Music Review / Revista de Música Latinoamericana 21, no. 1 (2000): 75. http://dx.doi.org/10.2307/780419.

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Tsai, Eva, and Hyunjoon Shin. "Strumming a place of one's own: gender, independence and the East Asian pop-rock screen." Popular Music 32, no. 1 (January 2013): 7–22. http://dx.doi.org/10.1017/s0261143012000517.

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AbstractThe first decade of the 21st century has seen a concurrent rise of pop-rock screen productions in Japan, South Korea and Taiwan, particularly feature films, documentaries and TV series informed by the guitar and/or band culture. This paper probes the popularisation of pop-rock in the region and asks what gender and sexual expressions have been mobilised in such productions and representations. The paper juxtaposes dominant gender tropes, such as the failing male rocker in search of rebirth (Korea), romantic youth pursuing authenticity (Japan), dazzling but also bedazzled rocker-girl on stage (Japan), indie music goddess in control of subdued femininity (Korea) and peripheral girl-with-acoustic-guitar who chronicles boys' sorrow (Taiwan). Responding to the familiar myth of rebellion in pop-rock discourses, our inter-referential analysis suggests that East Asian pop-rock screen is about the making of heterotopias rather than utopias.
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Dissertations / Theses on the topic "Guitar music South America"

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Pyall, Nicholas. "The Viennese guitar and its influence in North America : form, use, stringing, and social associations." Thesis, London Metropolitan University, 2014. http://repository.londonmet.ac.uk/702/.

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This thesis evaluates the technological developments of the nineteenth-century guitar that provided the basis for the emergence of the steel-strung instrument. It investigates changing use, cultural significance, and shifts in social association during this period. It maps and characterises Georg Staufer’s achievement in Vienna, and traces the progress of his innovations through the work of his immediate successors and of those European guitar makers who migrated to North America, whose designs heralded the emergence of the steel-string guitar. It assesses Staufer’s developments, in patents, catalogues and other primary documents, and compares those of his extant guitars, including examples with extra bass strings, which are accessible in museum and private collections. It asks how crucial changes in stringing (number of strings, tension, and material), c1880-c1920, led to profound but hitherto little-studied changes in sound and use; and by examining representation in press reviews and other reception evidence from Vienna and America, it assesses how the societal standing, signification and social associations of the guitar shifted, and demonstrates the basis of this in a complex web of technological and social change in the nineteenth century.
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Kruger, Jaco Hentie. "A cultural analysis of Venda guitar songs." Thesis, Rhodes University, 1994. http://hdl.handle.net/10962/d1002309.

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This thesis focuses on the articulation in music of human worldviews, and the social contexts in which they emerge. It suggests that people project various forms of social reality through symbolic systems which operate dynamically to maintain and recreate cultural patterns. The symbolic system investigated in support of this suggestion is that constituted by Venda guitar songs. In the performance of these songs, social reality emerges in a combination of symbolic forms: verbal, musical and somatic. The combination of these symbolic forms serves as a medium for individual self-awareness basic to the establishment of social reality and identity, and the drive for social power and legitimacy. A study of these symbolic forms and their performance indicates that musicians invoke the potential of communal music to increase social support for certain principles on which survival strategies in a turbulently changing society might be based. The discourse of Venda guitar songs incorporates modes of popular expression and consciousness, and thus attempts to invoke states of intensified emotion to promote these survival strategies. Performance occasions emerge as a focus for community orientation and the exploration of social networks. They promote stabilizing social and economic interaction, and serve as a basis for moral and cooperative action. Social reality also emerges in musical style, which is treated as the audible articulation of human thought and emotion. Stylistic choices are treated as integral to the conceptualization of contemporary existence. A study of these choices reveals varying degrees of cultural resistance and assimilation, ranging from musical styles which are essentially rooted in traditional social patterns, to styles which integrate traditional and adopted musical elements as articulations of changing self-perceptions, social aspirations, and quests for new social identity.
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Kinsey, Avril. "Music for classical guitar by South African composers : a historical survey, notes on selected works and a general catalogue." Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/8253.

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This is the first comprehensive investigation of music for, or including, the classical guitar by South African composers. The focus of this research has been, firstly, to uncover as much of the repertoire as possible, and, secondly, to collate, study, catalogue and report on the information. A brief historical survey of the guitar in South Africa provides the context within which this study was conducted. The primary sources of quantitative data collection were through the archival catalogues of the South African Music Rights Organisation and through personal contact with guitarists, composers and guitar teachers. Other sources consulted were publishers, broadcasting corporations, recording companies, libraries and the internet. The body of the dissertation comprises biographical sketches, background notes, analyses and technical notes on 17 selected solo and chamber works dating from 1947 to 2007 by some of South Africa's most prominent composers and guitaristcomposers. The repertoire ranges in style from the traditional and ethnically inspired to the experimental and abstract. As this is an empirical survey, each selected entry includes details on instrumentation, duration, level of difficulty, number of pages, scordatura, commissions or requests, sources or publishers, premières and recordings. A biography of each composer is provided as well as background notes which offer an overview of the selected work. The notes discuss historical, cultural, musical and extra-musical influences, and frequently include references to interview material. The commentaries on the selected works, with musical examples, include an analytical component describing structure, form, stylistic and compositional elements, while the technical observations include performance suggestions and a grading for each work.
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Johannes, Shaun. "Bassists of iKapa (the Cape) : a brief analysis of the development of the bass guitar in the musical genres of Mbaqanga and Ghoema in Cape Town, South Africa with a focus on the biographies and techniques of two of Cape Town's most prolific bassists, Spencer Mbadu and Gary Kriel." Master's thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/14739.

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Includes bibliographical references (p. 92-98).
As a bassist from Cape Town, I feel the necessity to investigate, analyze and document the bassists of years gone by who have been major contributors towards the advancement and conceptualization of the Cape Town and, more largely, South African bass-playing fraternity. Unfortunately several bassists have passed away prior to the commencement of this thesis. Two of these bassists are Sammy Maritz and Johnny Gertze who both performed with Abdullah Ibrahim (previously known as Dollar Brand). Therefore the motivation for this thesis is to capture the contributions of two bassists who are still alive and actively working in the South African music industry that are based in Cape Town, namely Gary Kriel and Spencer Mbadu. While there have been other bassists in Cape Town like Basil Moses, Charles Lazar and Philly Schilder who also have made contributions to the music industry and more so the bass playing fraternity in Cape Town, I feel that the contributions made by Mr Kriel and Mr Mbadu have a far greater significance for the reasons I outline below.
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Tygel, Julia Zanlorenzi. "Etnomusicologia participativa : conceitos e abordagens em dois estudos de caso." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284092.

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Orientador: Lenita Waldige Mendes Nogueira
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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entre outros nomes - tem suscitado grande interesse nas últimas décadas, e vem ganhando destaque em congressos e encontros científicos. Entretanto, ainda há poucas publicações que delineiem e discutam a área, o que dificulta sua aceitação dentro do paradigma científico, que continua a caracterizá-la como atividade extra-acadêmica, realizada de forma empírica pelos pesquisadores interessados. Esta pesquisa teve como objetivo delinear, a partir de referências dos campos da etnomusicologia, antropologia e metodologia da pesquisa-ação, alguns pontos teóricos sobre a etnomusicologia participativa, com base em dois estudos de casos bastante distintos: o Arquivo Musical Timbira, sediado em Carolina/Maranhão e gerido pela ONG Centro de Trabalho Indigenista entre as comunidades indígenas Timbira do Maranhão e Tocantins; e ações do Laboratório de Etnomusicologia, Antropologia e Audiovisual, sediado na cidade de Cachoeira, no Recôncavo Baiano, que abriga diversas tradições afrodescendentes. A pesquisa teve como base o estudo bibliográfico, a permanência em campo com a postura de observação participante e a realização de entrevistas. O ponto central deste trabalho consiste na reflexão sobre as metodologias adotadas por esses projetos de pesquisa e ação em etnomusicologia, no intuito de trazer contribuições para um aprofundamento no debate sobre a etnomusicologia participativa no Brasil, fortalecendo sua importância e colocando-a como alternativa para a realização de estudos acadêmicos, especialmente no âmbito da extensão universitária.
Abstract: The participative ethnomusicology - also called applied ethnomusicology, among other terms - has been concerning much interest on last decades, and is a spreading theme in scientific conferences and meetings. However, there are still few publications which delineate and discuss the field, what turns difficult its acceptation in scientific paradigm, which continues to characterize it as an extra-academic activity, empirically conducted by the interested researches. The main goal of this research was to delineate, based in references from ethnomusicology, anthropology and action-research methodologies fields, some theoretic concepts about participative ethnomusicology, focusing very different case studies: the Timbira Musical Archive, hosted in Carolina/Maranhão, Brazil, and supported by the NGO Centro de Trabalho Indigenista among the Timbira indigenous communities in Maranhão and Tocantins states; and the initiatives from the Laboratory for Ethnomusicology, Anthropology and Audiovisual, hosted in Cachoeira city, on an area of Bahia state called Recôncavo, which has many afro-descendants traditions. The research is based in bibliographic studies, fieldwork with participative observation posture and the collecting of interviews. The central point of this work consists on the reflection about the methodologies adopted by those projects of research and action in ethnomusicology, objectifying to add contributions to deepen the debate among participative ethnomusicology in Brazil, fortifying its importance and defining it as an alternative to the development of academic studies, especially concerning university outreach programs.
Mestrado
Musica
Mestre em Música
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Wittmann, Luisa Tombini 1979. "Flautas e maracás = música nas aldeias jesuíticas da América Portuguesa (séculos XVI e XVII)." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280441.

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Orientador: John Manuel Monteiro
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: Esta pesquisa tem como objetivo o estudo das relações sonoras entre jesuítas e índios no Estado do Brasil e no Estado do Maranhão, durante os séculos XVI e XVII. A análise da documentação histórica, sobretudo jesuítica, atenta, na primeira parte, para as regras da Companhia de Jesus, no que se refere à música, e para suas adaptações e debates em missões na Ásia e na América Portuguesa. Aspectos das culturas nativas possibilitam a passagem das normas às práticas, em três espaços: costa e planalto paulista na metade do século XVI, Amazônia seiscentista e sertão nordestino nas últimas décadas do século XVII. Busca-se, assim, contar uma história de constantes negociações, na qual a música desempenha papéis plurais, onde atores colocam em jogo sonoridades que se revelam indispensáveis ao diálogo religioso entre ameríndios e missionários
Abstract: This thesis explores musical relations between Jesuit missionaries and Amerindian peoples in colonial Portuguese America (Brazil and the State of Maranhão) during the sixteenth and seventeenth centuries. Based mainly on Jesuit sources, this work focuses initially on the musical conventions adopted by the Society of Jesus and on their discussion and adaption within the missionary contexts of Portuguese Asia and America. The thesis then argues that different aspects of native cultures enabled the transition from conventions to practice, with emphasis on three spatial contexts: the sixteenth-century coast and São Paulo plateau, the seventeenth-century Amazon, and the northeastern hinterland. In sum, the thesis develops a story of constant negotiation, where music played multiple roles and where different historical agents exchanged sounds that proved to be indispensible in the religious dialogue between Amerindian peoples and European missionaries
Doutorado
Historia Social
Doutor em História
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Childs, Alundra Nicole. "La Tradicion de Los Negros Lubolos: ¿Es Una Apreciacion o Una Apropiacion del Candombe?"." Miami University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=miami1496097078570828.

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Ward, Anthony McKenna. "Agustin Barrios Mangore: a study in the articulation of cultural identity." Thesis, 2010. http://hdl.handle.net/2440/61957.

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The notion of cultural identity as a crucial constitutive element of guitar performance was powerfully expressed in the career of Agustín Barrios, a major but neglected figure in the development of the guitar in the twentieth century. Barrios’ adoption in the 1930s of the persona of Mangoré, a Guaraní Indian from the sixteenth century, provided both a theatrical persona of musical exoticism and primitivism, and a potent statement of Latin American cultural independence. The concept of cultural identity, which has been central to the development of the discipline of ethnomusicology, is here adopted as a theoretical framework against which Mangoré is discussed. The cultural and musical environment of Latin America in the early decades of the twentieth century, and the iconic status of the guitar in those countries, is considered as the background to the case study proper, that of Barrios as Mangoré between 1930 and 1934. It is argued that as Mangoré, Barrios personified Latin American cultural identity in dramatic fashion, that Mangoré aligned with the European fascination with the primitive during this period and that, moreover, Mangoré retained an authentic and enduring value for Barrios to the end of his life. The significance of Mangoré is then revealed through a discussion of two categories of Barrios’ compositions: the folkloric works which exemplified his treatment of Latin American musical genres; and the tremolo works which expressed the fantasy and romanticism that were integral to his musical imagination. Finally, the relationship between Barrios and Segovia is considered, both in terms of the latter’s self-proclaimed role in the creation of the modern guitar repertoire, and of his criticism of Mangoré and the light this throws on Segovia’s own cultural identity.
Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2010
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Van, Der Walt Cornelia Susanna Nielu. "The relevance of the teaching methods of Dionisio Aguado, Fernando Sor and Andrés Segovia for guitar technique in the late 20th century." Diss., 1996. http://hdl.handle.net/10500/16283.

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This research study reports on the effectiveness of older methodologies with regard to teaching purposes for the classical guitar. The following Methods were discussed : F Sor : Methode pour la Guitare; D Aguado : Nuevo Metodo para Guitarra; A Segovia, as written by V Bobri : The Segovia Technique. These Methods were evaluated and compared with current guitar techniques as applied by Pujol, Artzt, Carlevaro, Duarte, Duncan, Shearer, Parkening, Sagreras, and the opinions of Brouwer, Aussel and Barrueco were also taken into consideration. The following technical aspects were analysed : posture; the Tripod; right· and left·hand techniques; fingering and scales; quality of tone and right-hand stroke : apoyando, tirando and ornamentation, as applied by Sor, Aguado and Segovia; and Sor's opinion of transcriptions. The Methods for the vihuela, the four· and five-course guitar, and the efforts of the eighteenth and nineteenth century were briefly discussed, such as : Milan; Narvaez; Pisador; Mudarra
M. Mus. (Musicology)
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Orea-Sanchez, René. "Le rythme dans les musiques traditionnelles de l'Amérique du Sud : modélisation, typologie et signification culturelle." Thèse, 2015. http://hdl.handle.net/1866/16441.

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Notre thèse vise une analyse comparative qui porte sur le paramètre du rythme. Le corpus d’étude est constitué d’une quarantaine de genres musicaux parmi les plus emblématiques de l’Amérique du Sud. La problématique principale consiste à comprendre le rapport entre la structure des rythmes et leurs dénominations vernaculaires multiples et de faire émerger leur signification culturelle. L’objectif de notre analyse est d’aboutir à des alternatives typologiques à géométrie variable mettant en confrontation les plans d’observation (endogène et exogène). Ces typologies nous permettent en même temps de mettre en relief les airs de famille entre les rythmes ainsi que leurs éventuelles filiations. Cette analyse s’appuie sur divers procédés de transcription, de modélisation et de comparaison des patterns polyrythmiques. Plusieurs composantes et aspects relatifs au paramètre rythmique sont également considérés, tels les oppositions de timbre, le tempo, les multiples spécificités performancielles, ainsi que les principes agogiques mis en oeuvre par les musiciens. Constituée de quatre chapitres, notre thèse fait état des différentes étapes méthodologiques de notre travail : analyse musicale, premières propositions typologiques (perspective exogène), enquêtes menées auprès des détenteurs des traditions (perspective endogène). Les deux perspectives sont ensuite mises en relation, voire confrontées, le tout dans une optique de validation culturelle des données conduisant à de nouvelles solutions typologiques.
Our thesis is a comparative analysis that focuses on rhythm as a parameter. The corpus of study consists of forty of the most iconic music genres of South America. The main issue is to understand the relationship between the structure of the rhythms and their various vernacular names and to make their cultural meaning emerge. The goal of our analysis is to create typological alternatives that confront the observation plans (endogenous and exogenous). These typologies focus on the family similarities between the rhythms and their possible affiliations. This analysis is based on various transcription processes, modeling and comparison of polyrhythmic patterns. Several aspects and components relating to the rhythmic parameter will also be considered, such as timbre oppositions, tempo, multiple performance formulations, and agogic principles created by the musicians. Consisting of four chapters, our thesis is based on several methodological steps: our music analysis and our initial typological proposals (exogenous perspective) on one hand, and on the other hand, our investigation process lead with the owners of the traditions (endogenous perspective). Both perspectives are then related, or faced, all in the perspective of a cultural validation.
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Books on the topic "Guitar music South America"

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Read, Kay Almere. Music in South India. Oxford: Oxford University Press, 2002.

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1974-, Nair Ajay, and Balaji Murali 1979-, eds. Desi rap: Hip-hop and South Asian America. Lanham, MD: Lexington Books, 2008.

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Gerard, Béhague, and University of Miami. North-South Center., eds. Music and Black ethnicity: The Caribbean and South America. New Brunswick, N.J: Transaction Publishers, 1994.

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Made-from-bone: Trickster myths, music, and history from the Amazon. Urbana: University of Illinois Press, 2009.

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Guerrero, J. Agustín. Yaravíes quiteños: Música ecuatoriana del siglo xix. 2nd ed. Municipio de Quito: Archivo Sonoro, 1993.

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Read, MacDonald Margaret. A hen, a chick, and a string guitar. Cambridge, MA: Barefoot Books, 2005.

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McCaslin, Nellie. A gift of music. Studio City, CA: Players Press, 1996.

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Bugallo, Rubén Pérez. Katináj: Estudios de etno-organología musical chaquense. [Buenos Aires]: Instituto Nacional Superior del Profesorado de Folklore, 1997.

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Salazar, Ernesto. Pasado precolombino de Morona Santiago. Quito: Casa de la Cultura Ecuatoriana Benjamín Carrión, Núcleo de Morona Santiago, 2000.

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Gómez-Perasso, José Antonio. Los guarayu: Guaraníes del oriente boliviano. [Asunción]: RP Ediciones, 1988.

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Book chapters on the topic "Guitar music South America"

1

Olsen, Dale A. "The Music of South America." In The Garland Handbook of Latin American Music, 194–200. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003249986-20.

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Miller, Terry E., and Andrew Shahriari. "South America and Mexico: The Amazon Rainforest, Peru, Argentina, Brazil, Mexico." In World Music, 383–414. Fifth edition. | New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780367823498-12.

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Kostelanetz, Richard, and Steve Silverstein. "Composer's Report on Music in South America (1947)." In Aaron Copland, 118–20. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003061724-16.

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"South America." In World Music: The Basics, 333–68. Routledge, 2004. http://dx.doi.org/10.4324/9780203997710-12.

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Miller, Terry E., and Andrew Shahriari. "South America and Mexico." In World Music CONCISE, 258–80. Routledge, 2018. http://dx.doi.org/10.4324/9781351176033-12.

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Bucuvalas, Tina. "George E. Soffos (1953–2013)." In Greek Music in America, 435–40. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819703.003.0038.

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Abstract:
George Soffos was born in Ohio into a family with roots in southern Rhodes. He learned to play guitar as a child, studied with master bouzouki player Giannis Tatasopoulos, and by 17 was an independent headliner in Greek clubs throughout the country.Playing a mix of traditional and popular Greek music infused with some aspects of American rock, Soffos was considered one of the best bouzouki musicians of his generation. He performed with most of the great Greek musicians and vocalists of his era in the U.S. and Greece and appeared on several albums.
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"South America, Mexico, Central America, and the Caribbean." In The Garland Encyclopedia of World Music, 361–80. Routledge, 2017. http://dx.doi.org/10.4324/9781315086446-25.

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"South America and Mexico: The Amazon Rainforest, Peru, Argentina,." In World Music, 448–83. Routledge, 2013. http://dx.doi.org/10.4324/9780203152980-17.

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"South America, Mexico, Central America, and the Caribbean." In The Concise Garland Encyclopedia of World Music, Volume 1, 160–324. Routledge, 2013. http://dx.doi.org/10.4324/9780203036372-12.

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"South America and Mexico: The Amazon Rainforest, Peru, Argentina,." In World Music: A Global Journey, 405–36. Fourth edition. | New York ; London : Routledge, 2017. | "2017: Routledge, 2016. http://dx.doi.org/10.4324/9781315692791-18.

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