Relevant bibliographies by topics / Humanities -> music -> latin

Academic literature on the topic 'Humanities -> music -> latin'

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Published: 26 July 2024

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Journal articles on the topic "Humanities -> music -> latin"

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Cusic, Don. "Latin America and Country Music." Journal of Popular Culture 33, no. 3 (December 1999): 39–47. http://dx.doi.org/10.1111/j.0022-3840.1999.3303_39.x.

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Coldiron, Katie, and Julio Capó. "Making Miami’s History and Present More Accessible." International Journal of Information, Diversity, & Inclusion (IJIDI) 6, no. 4 (January 25, 2023): 84–98. http://dx.doi.org/10.33137/ijidi.v6i4.38943.

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This is a work-in-progress report of Miami Studies, a curricular, research, and collections-focused initiative housed at the Wolfsonian Public Humanities Lab (WPHL) at Florida International University (FIU). Miami Studies represents a unique approach to Latina/o/x studies in the Greater Miami region and at one of the largest Hispanic-Serving Institutions (HSI) in the country. The rationale, framework, and historical context for a Miami Studies school of urbanism is described in detail. This is followed by an explanation of the WPHL’s digitally focused initiatives: the digitization of a now-defunct newspaper titled Miami Life and the Mellon Foundation-funded Community Data Curation post-custodial project. Also referenced is the Díaz Ayala Collection of Cuban and Latin American Popular Music, housed at FIU Libraries.
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Minks, Amanda, and Ana María Ochoa Gautier. "Music, Language, Aurality: Latin American and Caribbean Resoundings." Annual Review of Anthropology 50, no. 1 (October 21, 2021): 23–39. http://dx.doi.org/10.1146/annurev-anthro-121319-071347.

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Recent work in anthropology has attended to the imbrication of music, sound, listening, and language in research on, and from, Latin America and the Caribbean, as part of a broader movement across regions. In this article, we argue that these relations have their own intellectual genealogies in Latin America and the Caribbean, which have often been neglected in studies written about the region. We focus on recent theorization of aurality—the immediate and mediated practices of listening that construct perceptions of nature, bodies, voices, and technologies. We provide an overview of regional discourses on the interrelations of voice, orality, and writing, and then we discuss the aural turn in four areas: race; migration; socialization and youth cultures; and epistemologies of history, memory, and heritage. We put different bodies of discourse into dialogue as a means of charting a path toward decolonial (inter)disciplinary transformations that are built on other histories, vocalities, and modes of knowledge.
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Shain, Richard M. "The Re(Public) of Salsa: Afro-Cuban Music in Fin-de-Siècle Dakar." Africa 79, no. 2 (May 2009): 186–206. http://dx.doi.org/10.3366/e0001972009000680.

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This article explores why, despite its diminished popularity, Afro-Cuban music remains among the most performed musics in Senegalese music clubs. Since the Second World War, many Senegalese have associated Afro-Cuban music with cosmopolitanism and modernity. In particular, Senegalese who came of age during the Independence era associate Latin music with a new model of sociability that emphasized ‘correct’ behaviour – elegant attire and self-discipline. Participating in an emerging ‘café society’ was especially important. The rise of m'balax music in the late 1970s, deemed more culturally ‘authentic’ by a younger generation coming into its own, challenged many of the values associated with Senegalese salsa. As an enlarged Senegalese public embraced m'balax, the older generation stopped going out to Dakar's nightclubs where they felt increasingly uncomfortable. However, the model of sociability this generation has championed calls for public displays of distinction and refinement. In fin-de-siècle Dakar, a number of venues emerged where Afro-Cuban music is played and powerful older Dakarois congregate, even if less frequently than formally. This article describes these venues and documents their patrons and the performances that take place there.
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Beal, Jane. "Matthew Cheung Salisbury, Worship in Medieval England. Past Imperfect Series. Croydon: ARC Humanities Press, 2018, 92 pages." Mediaevistik 32, no. 1 (January 1, 2020): 315–18. http://dx.doi.org/10.3726/med.2019.01.42.

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Matthew Cheung Salisbury, a Lecturer in Music at University and Worcester College, Oxford, and a member of the Faculty of Music at the University of Oxford, wrote this book for ARC Humanities Press’s Past Imperfect series (a series comparable to Oxford’s Very Short Introductions). Two of his recent, significant contributions to the field of medieval liturgical studies include The Secular Office in Late-Medieval England (Turnhout: Brepols, 2015) and, as editor and translator, Medieval Latin Liturgy in English Translation (Kalamazoo: Medieval Institute Publications, 2017). In keeping with the work of editors Thomas Heffernan and E. Ann Matter in The Liturgy of the Medieval Church, 2nd ed. (Kalamazoo: Medieval Institute Publications, 2005) and Richard W. Pfaff in The Liturgy of Medieval England: A History (Cambridge University Press, 2009), this most recent book provides a fascinating overview of the liturgy of the medieval church, specifically in England. Salisbury’s expertise is evident on every page.
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Ogibowski, Brunno Rossetti. "Resenha/Book Review: Music Education in an Age of Virtuality and Post-Truth." ORFEU 4, no. 2 (December 20, 2019): 127–42. http://dx.doi.org/10.5965/2525530404022019127.

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Este texto apresenta a resenha do livro Music education in an age of virtuality and post-truth, do professor canadense da Western University, Paul G. Woodford. O livro costura o pragmatismo de John Dewey com as ideias de George Orwell sobre as sociedades de massa em busca de compreender o impacto que determinadas ações de políticos do século XXI podem causar no campo da Educação, da Arte e das Humanidades. Como conclusão, são oferecidos exemplos similares de políticos do Brasil e da América Latina, com o suporte das ideias de Newton Duarte,2 que ele chamou de O currículo em tempos de obscurantismo beligerante (2018).This text presents a review of the book Music Education in an Age of Virtuality and Post-Truth, by Canadian University Professor Paul G. Woodford (2019). The book stitches John Dewey’s pragmatism with George Orwell’s ideas about mass societies in order to understand the impact that certain actions of 21st century politicians can have on the field of Education, the Arts and the Humanities. In conclusion, similar examples of politicians from Brazil and Latin America are offered, supported by the ideas of Newton Duarte and what he called The Curriculum in times of Belligerent Obscurantism.
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Abreu, Mariana. "Black Epistemologies and Music: A Dialogue with Emicida's Sobre crianças, quadris, pesadelos e lições de casa." Hispania 107, no. 2-3 (June 2024): 353–65. http://dx.doi.org/10.1353/hpn.2024.a929133.

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Abstract: The arts have consistently been interlocutors for Black scholarship in the humanities. Poetry, literature, and music are sources of knowledge for theorizing social realities. This relates to two elements: (a) an epistemology that values the production and spread of oral, subjective, and aesthetic forms of knowledge; (b) the systematic exclusion of Black people from academic spaces, especially in Latin American contexts, which encourages alternative practices of reflection and registry. Many artists actively consider what is produced in the cultural margins to be a strong locus of political and intellectual creativity. In Brazil, the rapper Emicida has been trying to make his artistic projects catalysts for philosophical reflection. His album Sobre crianças, quadris, pesadelos e lições de casa resonates with Asian, African, Black Atlantic, and Latin American sources of knowledge including religious practices, pop culture, and philosophy. It discusses themes such as love, race, racism, history, family, environmental crisis, and work relations through the combination of musical styles from Brazil, specifically, and the Black Atlantic, more generally. This article establishes a dialogue with the theories and debates suggested by this album, thus situating its contribution to Black scholarship and epistemology.
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Béhague, Gerard H. "Recent Studies on the Music of Latin America." Latin American Research Review 20, no. 3 (1985): 218–27. http://dx.doi.org/10.1017/s0023879100021774.

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Wade, Peter. "Globalization and Appropriation in Latin American Popular Music." Latin American Research Review 39, no. 1 (2004): 273–84. http://dx.doi.org/10.1017/s0023879100039108.

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Morris, Nancy. "Cultural Interaction in Latin American and Caribbean Music." Latin American Research Review 34, no. 1 (1999): 187–200. http://dx.doi.org/10.1017/s0023879100024353.

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Dissertations / Theses on the topic "Humanities -> music -> latin"

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Pita, Laura. "TERESA CARREÑO’S EARLY YEARS IN CARACAS: CULTURAL INTERSECTIONS OF PIANO VIRTUOSITY, GENDER, AND NATION-BUILDING IN THE NINETEENTH CENTURY." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/134.

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This dissertation studies the musical activities of the Venezuelan pianist and composer Teresa Carreño (1853-1917) during her formative years in Caracas. It examines the sources that pertain to her musical environment, early piano training, and first compositions in the context of the growth in Caracas of the practices of recreational sociability, the increasing influence of virtuosic music, and the tradition of private concert-making sponsored by devoted music amateurs. This study argues that Teresa Carreño’s musical upbringing occurred in a social and cultural context in which Enlightenment-framed ideologies of civilization and social progress, shaped in fundamental ways the perceptions of the value of music and women in society, and their role in the newly-founded republic. This study is aimed at reconstructing Teresa Carreño’s musical activities in Caracas as a means for elucidating the values, aspirations, and contradictions of Caracas’s musical culture and how these were articulated within the broader context of the nation-building process that was shaped and promoted by the progressive intelligentsia since the early nineteenth-century.
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Wood, Ashley Elizabeth. "El Reguetón: Análisis Del Léxico De La Música De Los Reguetoneros Puertorriqueños." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/mcl_theses/6.

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This paper examines the linguistic qualities of reggaeton in order to determine to which extent the music represents the speech of the urban residents of Puerto Rico. The lyrics of this music are analyzed in order to see if they are used only within the context of reggaeton or if they are part of the Puerto Rican lexicon in general. The political context of Puerto Rico with respect to the United States is taken in to consideration with the formation of Anglicisms and the use of English. The paper summarizes the current knowledge of the Puerto Rican lexicon as well as two linguistic studies that focus on reggaeton as well as giving general background information on the genre. In the analysis section, 20 words that are commonly found in reggaeton songs are analyzed using two accredited dictionaries and three “urban dictionaries” in order to determine their meanings, uses and origins.
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Braden, Emily. ""Así me gustas gordita": Representaciones de la gordura en la música popular y la literatura del Caribe hispano." Thesis, 2007. http://hdl.handle.net/1828/279.

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This thesis examines contemporary musical and literary representations of female fatness in the Hispanic Caribbean. Chapter I explores the stereotype of a greater acceptance and valorization of fatness within the African Diaspora using contemporary feminist scholarship on cultural aesthetics and the body. Fatness is discussed as being both sexually transgressive and traditionally feminine. Chapter II juxtaposes male representations of “la gorda” in the lyrics of popular music of from Cuba, the Dominican Republic and Puerto Rico with the feminist politics of underground hip hop. Chapter III analyzes Guillermo Cabrera Infante’s hyperbolic representation of La Estrella, his fictionalization of Cuban bolero singer Fredy Rodriguez, in Ella cantaba boleros y “Metafinal” (1996). The aquatic subtexts and grotesque characterization of La Estrella’s body construct her as an icon of musical authenticity and exceptionality as well as a symbol of strength and resistance.
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Books on the topic "Humanities -> music -> latin"

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Remixing Reggaetón: The Cultural Politics of Race in Puerto Rico. Duke University Press, 2015.

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Book chapters on the topic "Humanities -> music -> latin"

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Ames, Morgan. "The Media Machine." In Digital Humanities in Latin America, 38–56. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401476.003.0003.

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This chapter examines one of the largest interventions in computer-based learning currently underway, the One Laptop per Child (OLPC) project. Started in 2005 by people from the MIT Media Lab, this project distributed more than 2.5 million laptops worldwide, over 80 percent of them in Latin America. Drawing on 2010 and 2013 fieldwork investigating a project in Paraguay with 10,000 of OLPC’s “XO” laptops, the chapter explores the ways in which the children who were meant to be the primary beneficiaries interpreted leisure laptop use as “learning.” It also shows that the most captivating uses of the laptops were not “productive” or programming-centric, as OLPC’s developers hoped, but “consumptive” and media-centric, focused on music, videos, and video games. It discusses the learning benefits and drawbacks of this use, as understood by participants and in light of education research, and in light of the broader context of transnational corporations interested in marketing to these children. In the process, it weighs OLPC’s utopian dreams against the interests of the child beneficiaries, concerns of media imperialism, and a potential shift in the meaning of computers.
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Kildea, Paul. "On Receiving the First Aspen Award (1964)." In Britten on Music, 255–63. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198167143.003.0076.

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Abstract Ladies and Gentlemen, when last May your Chairman and your President told me they wished to travel the 5000 miles from Aspen to Aldeburgh to have a talk with me, they hinted that it had something to do with and Aspen Award for Services to the Humanities-an award of very considerable importance and size.1 I imagined that they felt I might advise them on a suitable recipient, and I began to consider what I should say. Who would be suitable for such an honour? What kind of person? Doctor? Priest? A social worker? A politician? Well, ... ! An artist? Yes, possibly (that, I imagined, could be the reason that Mr. Anderson and Professor Eurich thought I might be the person to help them). So I ran through the names of the great figures working in the Arts among us today. It was a fascinating problem; rather like one’s school-time game of ideal cricket elevens, or slightly more recently, ideal casts for operas-but I certainly won’t tell which of our great poets, painters, or composers came to the top of my list.Mr. Anderson and Professor Eurich paid their visit to my home in Aldeburgh. It was a charming and courteous visit, but it was also a knock-out. It had not occurred to me, frankly, that it was I who was to be the recipient of this magnificent award, and I was stunned. I am afraid my friends must have felt I was a tongue-tied host. But I simply could not imagine why I had been chosen for this very great honour. I read again the simple and moving citation.2 The key-word seemed to be ‘humanities’. I went to the dictionary to look up its meaning, I found Humanity: ‘the quality of being human’ (well, that applied to me all right). But I found that the plural had a special meaning: ‘Learning or literature concerned with human culture, as grammar, rhetoric, poetry and especially the ancient Latin and Greek Classics’. (Here I really had no claims since I cannot properly spell even in my own language, and when I set Latin I have terrible trouble over the quantities-besides you can all hear how far removed I am from rhetoric.)
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Conference papers on the topic "Humanities -> music -> latin"

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Szymanska-Stulka, Katarzyna. "SPACE PERFORMS FOR SACRED AMONG MUSIC AND ARCHITECTURE. THE CASE OF STABAT MATER??S MOTIF IN POLISH CONTEMPORARY MUSICAL WORKS BY PAWEL LUKASZEWSKI AND IGNACY ZALEWSKI." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/vs08.09.

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In sacred musical works we find structures and composing solutions that introduce a specific action, similar to visual elements. What are the means for the architectural and sound space that create a sacred space? Are there playing in common? I answer this question on the basis of contemporary architecture (e.g. Church of Light by Tadao Ando in Ibaraki/Japan, Fritz Hoger�s Kirke in Berlin/Germany, Basilica Sanctuary of Our Lady of Tears by Stephane Aboudaram in Syracuse/Italy) confronted with music dedicated to the sacred sphere. In accordance with the currently developed cognitive interpretation, I will guide towards the sphere of experience and define a sacred place as an area where you can feel safe, surrounded by somewhat mysterious; calm down, focused on, forget about reality. At this place you can also be moved, sublimed and touched by presence of eternity, and share or express the fullness of life emotions. I present a musical analysis of sacred elements on the examples of works by contemporary Polish composers focused on the image of the suffering Mother of God under the cross of her son: Luctus Mariae by Pawel Lukaszewski from 2010 based on the Latin version of the Stabat Mater sequence, referring to the convention of the Italian madrigal theater from the 18th century and representing a severe beauty of the contemporary vision of meditation, and Stabat Mater by Ignacy Zalewski from 2018 making the suffering of the Mother of God more �real� basing on the contemporary version of a medieval sequence in a current experience of symbolic performative and vivid image that can be shared by the recipient.
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