Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-cd9895bd7-hc48f Total loading time: 0 Render date: 2024-12-27T17:58:20.606Z Has data issue: false hasContentIssue false

11 - A Century and a Half of Scholarship on Afro-Latin American Music

from Part III - Culture

Published online by Cambridge University Press:  24 April 2018

By
Robin D. Moore
Edited by
Alejandro de la Fuente  and
George Reid Andrews
Alejandro de la Fuente
Affiliation:
Harvard University, Massachusetts
George Reid Andrews
Affiliation:
University of Pittsburgh
Get access

Summary

A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Afro-Latin American Studies
An Introduction
 , pp. 406 - 437
Publisher: Cambridge University Press
Print publication year: 2018

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Abreu, Christina D. 2015. Rhythms of Race: Cuban Musicians and the Making of Latino New York City and Miami, 1940–1960. Chapel Hill, NC: University of North Carolina Press.CrossRefGoogle Scholar
Acosta, Leonardo. 1982. Música y descolonización. Mexico City: Presencia Latinoamericana.Google Scholar
Acosta, Leonardo. 1983. Del tambor al sintetizador. Havana: Editorial Letras Cubanas.Google Scholar
Aharonián, Coriun, ed. 2013. La música entre África y América. Montevideo: Centro Nacional de Documentación Musical Lauro Ayestarán.Google Scholar
Altmann, Thomas. 1998. Cantos lucumí a los orichas. Hamburg: Oché.Google Scholar
Alvarenga, Oneyda. 1950. Música popular brasileira. Rio de Janeiro: Editora Globo.Google Scholar
Amira, John, and Cornelius, Steven. 1992. The Music of Santería: Traditional Rhythms of the Batá Drums. Crown Point, IN: White Cliffs Media.Google Scholar
Andrade, Mário de. 1928. “Ensaio sobre a música brasileira.” São Paulo: I. Chiarato.Google Scholar
Andrade, Mário de. 1937. “O samba rural paulista.” Revista do Arquivo Municipal 4, 41: 37–116.Google Scholar
Andrade, Mário de. 1941. Música do Brasil. Curitiba: Editora Guaira.Google Scholar
Andrews, George Reid. 1980. The Afro-Argentines of Buenos Aires, 1800–1900. Madison, WI: University of Wisconsin Press.Google Scholar
Andrews, George Reid. 2004. Afro-Latin America. 1800–2000. New York, NY: Oxford University Press.Google Scholar
Austerlitz, Paul. 1997. Merengue: Dominican Music and Dominican Identity. Philadelphia, PA: Temple University Press.Google Scholar
Avelar, Idelber, and Dunn, Christopher, eds. 2011. Brazilian Popular Music and Citizenship. Durham, NC: Duke University Press.Google Scholar
Baker, Geoffrey. 2011. Buena Vista in the Club: Rap, Reggaetón, and Revolution in Havana. Durham, NC: Duke University Press.Google Scholar
Barnes, Sandra T., ed. 1989. Africa’s Ogun: Old World and New. Bloomington, IN: Indiana University Press.Google Scholar
Bascom, William. 1950. “The Focus of Cuban Santería.” Southwestern Journal of Anthropology 6, 1: 64–68.Google Scholar
Bascom, William. 1972. Shango in the New World. Austin, TX: African and Afro-American Research Institute, University of Texas.Google Scholar
Bascom, William. 1980. Sixteen Cowries: Yoruba Divination from Africa to the New World. Bloomington, IN: Indiana University Press.Google Scholar
Bastide, Roger. 1971. African Civilizations in the New World. New York, NY: Harper & Row. First published in 1967.Google Scholar
Bastide, Roger. 1978. The African Religions of Brazil: Toward a Sociology of the Interpenetration of Civilizations. Baltimore, MD: Johns Hopkins University Press. First published in 1960.Google Scholar
Béhague, Gerard. 1973. “Bossa and Bossas: Recent Changes in Brazilian Urban Popular Music.” Ethnomusicology 17, 2: 209–33.Google Scholar
Béhague, Gerard. 1975. “Notes on Regional and National Trends in Afro-Brazilian Cult Music.” In Tradition and Renewal, edited by Forster, Merlin H., 68–80. Urbana, IL: University of Illinois Press.Google Scholar
Béhague, Gerard. 1980. “Brazilian Musical Values of the 1960s and 70s: Popular Urban Music from Bossa Nova to Tropicalia.” Journal of Popular Culture 14, 3: 437–52.CrossRefGoogle Scholar
Béhague, Gerard. 1982. “Ecuadorian, Peruvian, and Brazilian Ethnomusicology: A General View.” Latin American Music Review 3, 1: 17–35.Google Scholar
Béhague, Gerard. 1984. “Patterns of Candomblé Music Performance: An Afro-Brazilian Religious Setting.” In Performance Practice: Ethnomusicological Perspectives, edited by Béhague, Gerard, 222–54. Westport, CT: Greenwood Press.Google Scholar
Béhague, Gerard. 1991. “Reflections on the Ideological History of Ethnomusicology.” In Comparative Musicology and Anthropology of Music, edited by Nettl, Bruno and Bohlman, Philip, 56–68. Chicago, IL: University of Chicago Press.Google Scholar
Béhague, Gerard. 2002a. “Recent Studies of Brazilian Music: Review-Essay.” Latin American Music Review 23, 2: 235–51.Google Scholar
Béhague, Gerard. 2002b. “Bridging South America and the United States in Black Music Research.” Black Music Research Journal 22, 1: 1–11.Google Scholar
Béhague, Gerard, ed. 1994. Music and Black Ethnicity: The Caribbean and South America. Miami: University of Miami Press.Google Scholar
Bilby, Kenneth. 1985 “The Caribbean as a Musical Region.” In Caribbean Contours, edited by Mintz, Sidney and Price, Sally, 181–218. Baltimore, MD: Johns Hopkins University Press.Google Scholar
Bodenheimer, Rebecca. 2015. Geographies of Cubanidad: Place, Race, and Musical Performance in Contemporary Cuba. Jackson, MI: University of Mississippi Press.Google Scholar
Brandon, George. 1993. Santeria from Africa to the New World: The Dead Sell Memories. Bloomington, IN: Indiana University Press.Google Scholar
Bremer, Fredrika. 1995. Cartas desde Cuba. Havana: Editorial Arte y Literatura.Google Scholar
Brown, David. 2003. Santería Enthroned. Chicago, IL: University of Chicago Press.Google Scholar
Burdick, John. 2013. The Color of Sound: Race, Religion, and Music in Brazil. New York, NY: New York University Press.Google Scholar
Cabrera, Lydia, and Tarafa, Josefina. 2001a. Havana, Cuba ca. 1957: Rhythms and Songs for the Orishas. Washington DC: Smithsonian Folkways. CD 40489.Google Scholar
Cabrera, Lydia, and Tarafa, Josefina. 2001b. Matanzas, Cuba, ca. 1957: Afro-Cuban Sacred Music from the Countryside. Washington DC: Smithsonian Folkways. CD 40490.Google Scholar
Cabrera, Lydia, and Tarafa, Josefina. 2003. Havana and Matanzas, Cuba ca. 1957: Batá, Bembé, and Palo Songs from the Historic Recordings of Lydia Cabrera and Josefina Tarafa. Washington DC: Smithsonian Folkways. CD 40434.Google Scholar
Camarga Toni, Flávia, et al. 2010. Missão de pesquisas folclóricas. São Paulo: Associação Amigos do Centro Cultural São Paulo.Google Scholar
Carpentier, Alejo. 1946. La música en Cuba. Mexico City: Fondo de Cultura Económica.Google Scholar
Carvalho, José Jorge de. 1984. “Music of African Origin in Brazil.” In Africa in Latin America: Essays on History, Culture, and Socialization, edited by Fraginals, Manuel Moreno, 227–50. New York, NY: Holmes and Meier.Google Scholar
Carvalho, José Jorge de. 1994. The Multiplicity of Black Identities in Brazilian Popular Music. Brasilia: Universidade de Brasilia.Google Scholar
Carvalho, José Jorge de, and Segato, Rita L.. 1992. Shango Cult in Recife, Brazil. Caracas: FFUNDEF, CONAC.Google Scholar
Carvalho Neto, Paulo de. 1978. “Folklore of the Black Struggle in Latin America.” Latin American Perspectives 5, 2: 53–88.Google Scholar
Castillo Faílde, Osvaldo. 1964. Miguel Faílde, creador musical del danzón. Havana: Editora del Consejo Nacional de Cultura.Google Scholar
Chao Carbonero, Graciela. 1980. Bailes yorubas de Cuba. Havana: Editorial Pueblo y Educación.Google Scholar
Chasteen, John Charles. 2004. National Rhythms, African Roots: The Deep History of Latin American Popular Dance. Albuquerque, NM: University of New Mexico Press.Google Scholar
Coopersmith, Jacob. 1949. Music and Musicians of the Dominican Republic. Washington, DC: Pan American Union.Google Scholar
Coronil, Fernando. 1995. “Introduction. Transculturation and the Politics of Theory: Centering the Center, Cuban Counterpoint.” In Cuban Counterpoint: Tobacco and Sugar, edited by Ortiz, Fernando, ix–lvi. Durham, NC: Duke University Press.Google Scholar
Courlander, Harold. 1960. The Drum and the Hoe: Drum and Lore of the Haitian People. Berkeley, CA: University of California Press.Google Scholar
Crook, Larry, and Johnson, Randal, eds. 1999. Black Brazil: Culture, Identity, and Social Mobilization. Los Angeles, CA: UCLA Latin American Center Publications.Google Scholar
Cunha, Olivia Maria Gomes da. 1998. “Black Movements and the ‘Politics of Identity’ in Brazil.” In The Cultures of Politics and the Politics of Culture: Re-Visioning Social Movements in Latin America, edited by Alvarez, Sonia E., et al. Boulder, CO: Westview.Google Scholar
De la Fuente, Alejandro. 2008. Havana and the Atlantic in the Sixteenth Century. Chapel Hill, NC: University of North Carolina Press.Google Scholar
De Léry, Jean. 1990. History of a Voyage to the Land of Brazil, Otherwise Called America. Translated by Whatley, Janet. Berkeley, CA: University of California Press.Google Scholar
Dudley, Shannon. 2003. Carnival Music in Trinidad: Experiencing Music, Expressing Culture. New York, NY: Oxford University Press.Google Scholar
Dufrasne-González, J. Emmanuel. 1994. Puerto Rico tambien tiene – tambó! Recopilación de artículos sobre la plena y la bomba. Rio Grande: Paracumbé.Google Scholar
Dunn, Christopher, and Perrone, Charles A., eds. 2001. Brazilian Popular Music and Globalization. Gainsville, FL: University Press of Florida.Google Scholar
Engle, Karen. 2010. The Elusive Promise of Indigenous Development: Rights, Culture, Strategy. Durham, NC: Duke University Press.Google Scholar
Feldman, Heidi. 2006. Black Rhythms of Peru: Reviving African Musical Heritage in the Black Pacific. Middletown, CT: Wesleyan University Press.Google Scholar
Flores, Juan. 2000. From Bomba to Hip-Hop: Puerto Rican Culture and Latino Identity. New York, NY: Columbia University Press.Google Scholar
Franco, José Luciano. 1959. Folklore criollo y africano. La Habana: Junta Nacional de Arqueología y Etnología.Google Scholar
Franco, José Luciano. 1968. La presencia negra en el Nuevo Mundo. Havana: Casa de las Américas.Google Scholar
Fryer, Peter. 2000. Rhythms of Resistance: African Musical Heritage in Brazil. Hanover, NH: Wesleyan University Press.Google Scholar
Galinsky, Philip. 2002. “Maracatu Atômico”: Tradition, Modernity, and Postmodernity in the Mangue Movement of Recife, Brazil. New York, NY: Psychology Press.Google Scholar
Galinsky, Philip. 2015. Maracatu Atômico: Tradition, Modernity, and Postmodernity in the Mangue Movement and the “New Music Scene” of Recife, Pernambuco, Brazil. New York, NY: Routledge.Google Scholar
Garcia, David. 2006. Arsenio Rodríguez and the Transnational Flows of Latin Popular Music. Philadelphia PA: Temple University Press.Google Scholar
García, Nanette, and Minichino, Maurice. 2001. The Sacred Music of Cuba: Batá Drumming Matanzas Style. New York, NY: Melantone Productions.Google Scholar
García Canclini, Néstor. 1990. Culturas híbridas: estrategias para entrar y salir de la modernidad. México, D. F.: Random House Mondadori.Google Scholar
García Canclini, Néstor. 1995. Hybrid Cultures. Strategies for Entering and Leaving Modernity. Minneapolis, MN: University of Minnesota Press.Google Scholar
Gallet, Luciano. 1934. Estudos do folklore. Rio de Janeiro: C. Wehrs.Google Scholar
Gidal, Marc. 2016. Spirit Song: Afro-Brazilian Religious Music and Boundaries. New York, NY: Oxford University Press.Google Scholar
Gilroy, Paul. 1993. The Black Atlantic: Modernity and Double Consciousness. Cambridge, MA: Harvard University Press.Google Scholar
Glasser, Ruth. 1995. My Music Is My Flag. Puerto Rican Musicians and Their New York Communities, 1917–1940. Berkeley, CA: University of California Press.Google Scholar
Gould, Stephen Jay. 1981. The Mismeasure of Man. New York, NY: W. W. Norton.Google Scholar
Gray, John. 2010. From Vodou to Zouk: A Bibliographic Guide to Music of the French-Speaking Caribbean and Its Diaspora. Nyack, NY: African Diaspora Press.Google Scholar
Gray, John. 2011. Jamaican Popular Music, From Mento to Dancehall Reggae: A Bibliographic Guide. Nyack, NY: African Diaspora Press.Google Scholar
Gray, John. 2012. Afro-Cuban Music: A Bibliographic Guide. Nyack, NY: African Diaspora Press.Google Scholar
Gray, John. 2013. Baila!: A Bibliographic Guide to Afro-Latin Dance Musics from Mambo to Salsa. Nyack, NY: African Diaspora Press.Google Scholar
Gray, John. 2014. Afro-Brazilian Music: A Bibliographic Guide. Nyack, NY: African Diaspora Press.Google Scholar
Gray, John. 2015. Carnival, Calypso and Steel Pan: A Bibliographic Guide to Popular Music of the English-Speaking Caribbean and Its Diaspora. Nyack, NY: African Diaspora Press.Google Scholar
Gray, John. 2016. Hip-Hop Studies: An International Bibliography and Resource Guide. Nyack, NY: African Diaspora Press.Google Scholar
Grenet, Emilio. 1939. Popular Cuban Music: 80 Revised and Corrected Compositions Together with an Essay on the Evolution of Music in Cuba. Havana: Carasa y Cía.Google Scholar
Guilbault, Jocelyne. 1993. Zouk: World Music in the West Indies. Chicago, IL: University of Chicago Press.Google Scholar
Guilbault, Jocelyne. 2007. Governing Sound: The Cultural Politics of Trinidad’s Carnival Musics. Chicago, IL: University of Chicago Press.Google Scholar
Guillen, Isabel Cristina Martins. 2007. “Rainhas coroadas: Historia e ritual nos maracatus-nação do Recife.” In: Cultura afro-descendente no Recife: maracatus, valentes e catimbós, edited by de França Lima, Ivaldo Marciano and Martins Guillen, Isabel Cristina, 179–202. Recife: Edições Bagaço.Google Scholar
Guillen, Isabel Cristian Martins, ed. 2014. Inventário Cultural dos Maracatus Nação. Recife: Editora UFPE.Google Scholar
Hagedorn, Katherine. 2001. Divine Utterances: The Performance of Afro-Cuban Santería. Washington, DC: Smithsonian Institution Press.Google Scholar
Hale, Charles. 2005. “Neoliberal Multiculturalism: The Remaking of Cultural Rights and Cultural Dominance in Central America.” PoLAR 28, 1: 10–28.Google Scholar
Hall, Stuart. 1984. The Idea of the Modern State. Philadelphia, PA: Open University Press.Google Scholar
Harrison, Klisala. 2012. “Epistemologies of Applied Ethnomusicology.” Ethnomusicology 56, 3: 505–29.Google Scholar
Helg, Aline. 1995. Our Rightful Share: The Afro-Cuban Struggle for Equality, 1886–1912. Chapel Hill, NC: University of North Carolina Press.Google Scholar
Henry, Clarence Bernard. Let’s Make Some Noise: Axé and the African Roots of Brazilian Popular Music. Jackson, MS: University Press of Mississippi, 2008.Google Scholar
Herskovits, Melville. 1941. The Myth of the Negro Past. Boston: Beacon Press.Google Scholar
Herskovits, Melville. 1944. “Drums and Drummers in Afro-Brazilian Cult Life.” Musical Quarterly 30: 477–92.Google Scholar
Herskovits, Melville, and Waterman, Richard. 1949. “Música de culto afrobahiana.” Revista de Estudios Musicales 1, 2: 65–127.Google Scholar
Hertzman, Marc A. 2013. Making Samba: A New History of Race and Music in Brazil. Durham, NC: Duke University Press.Google Scholar
Hobsbawm, Eric. 1987. The Age of Empire, 1875–1914. New York, NY: Vintage Books.Google Scholar
Hobsbawm, Eric. 1990. Nations and Nationalism since 1780: Programme, Myth, Reality. New York, NY: Cambridge University Press.Google Scholar
Hobsbawm, Eric, and Ranger, Terrence, eds. 1983. The Invention of Tradition. New York, NY: Cambridge University Press.Google Scholar
Howard, Joseph H. 1967. Drums in the Americas. New York, NY: Oak Publications.Google Scholar
Issa, Daniela. 2008. “Praxis of Empowerment: Mística and Mobilization in Brazil’s Landless Rural Workers’ Movement.” In Latin American Social Movements in the Twenty-First Century: Resistance, Power, and Democracy, edited by Vanden, Harry D., et al. Plymouth, UK: Rowman & Littlefield.Google Scholar
Kajikawa, Loren. 2009. “Eminem’s ‘My Name Is’: Signifying Whiteness, Rearticulating Race.” Journal of the Society for American Music 3, 3: 341–63.Google Scholar
Kuss, Malena, ed. 2007. Music in Latin America and the Caribbean. Vol. 2. Performing the Caribbean Experience. Austin, TX: University of Texas Press.Google Scholar
Labat, Jean-Baptiste. 1970. The Memoirs of Père Labat, 1693–1705. Translated and abridged by Eaden, John. London: F. Cass.Google Scholar
LaFevers, Cory. 2010. “The Sounds of Blackness in Brazil: Musical Affordance, Regional Identity, and Activism in Recife’s Black Movements.” Master’s thesis, Syracuse University.Google Scholar
LaFevers, Cory. 2016. “Past, Present, and Future Trends in Brazilian Ethnomusicology. A General Overview.” Unpublished paper.Google Scholar
LaFevers, Cory, and da Silva, Viviane Santiago. 2014. “Projeto Yabas: Reflections on Hip-Hop and Black Women’s Self-making in Brazil.” Alter/nativas Latin American Cultural Studies Journal 2. http://alternativas.osu.edu/en/issues/spring-2014.html#essays1.Google Scholar
Lane, Jill. 2005. Blackface Cuba, 1840-1895. Philadelphia, PA: University of Pennsylvania Press.Google Scholar
Largey, Michael. 2006. Voodoo Nation. Haitian Art Music and Cultural Nationalism. Chicago, IL: University of Chicago Press.Google Scholar
León, Argeliers. 1964. Música folklore: Yoruba, Bantú, Abakuá. Havana: Ediciones del C.N.C.Google Scholar
León, Argeliers. 1974. Del canto y el tiempo. Havana: Editorial Letras Cubanas.Google Scholar
León, Argeliers. 1991. “Of the Axle and the Hinge: Nationalism, Afro-Cubanism, and Music in Pre-Revolutionary Cuba.” In Essays on Cuban Music: North American and Cuban Perspectives, edited by Manuel, Peter, 267–82. Lanham, MD: University Press of America.Google Scholar
León, Javier, and Simonett, Helena, eds. 2016. A Latin American Music Reader: Views from the South. Urbana, IL: University of Illinois Press.Google Scholar
Le Riverend, Julio. 1961. “Fernando Ortiz cumple 80 años.” INRA 2, 8: 38–43.Google Scholar
Lima, Ivaldo Marciano de França. 2005. Maracatus-nação. Ressignificando velhas histórias. Recife: Edições Bagaço.Google Scholar
Lima, Ivaldo Marciano de França. 2008. Maracatus e maracatuzeiros: Desconstruindo certezas, batendo afayas e fazendo histórias. Recife, 1930–1945. Recife: Edições Bagaço.Google Scholar
Lima, Ivaldo Marciano de França. 2009. “Afoxés: Manifestação cultural baiana ou pernambucana? Narrativas para uma história social dos afoxés.” Revista Esboços 16, 2: 89–110.Google Scholar
Lima, Ivaldo Marciano de França. 2012. Maracatus do Recife: Novas considerações sob o olhar dos tempos. Recife: Edições Bagaço.Google Scholar
Lizard, Fradique. 1975. Danzas y bailes folklóricos dominicanos. Santo Domingo: Fundación García-Arevalo.Google Scholar
Lizard, Fradique. 1979. Cultura africana en Santo Domingo. Santo Domingo: Taller.Google Scholar
Lombroso, Cesare. 2006. Criminal Man. Translated by Mary Gibson and Nicole Hahn Rafter, with translation assistance from Mark Seymour. Durham, NC: Duke University Press. First published in 1876.Google Scholar
Madrid, Alejandro, and Moore, Robin. 2013. Danzón: Circum-Caribbean Dialogues in Music and Dance. New York, NY: Oxford University Press.Google Scholar
Magaldi, Cristina. 2008. “Before and after Samba: Modernity, Cosmopolitanism, and Popular Music in Rio de Janeiro at the Beginning and End of the Twentieth Century.” In Postnational Musical Identities: Cultural Production, Distribution, and Consumption in a Globalized Scenario, edited by Corona, Ignacio and Madrid, Alejandro L., 173–184. Lanham, MD: Lexington.Google Scholar
McAlester, Elizabeth. 2002. Rara. Berkeley, CA: University of California Press.Google Scholar
McCann, Brian. 2004. Hello, Hello Brazil: Popular Music in the Making of Modern Brazil. Durham, NC: Duke University Press.Google Scholar
Manuel, Peter. 1988. Popular Musics of the Non-Western World: An Introductory Survey. New York, NY: Oxford University Press.Google Scholar
Marcus, George. 1999. Anthropology as Cultural Critique. Chicago, IL: University of Chicago Press.CrossRefGoogle Scholar
Merriam, Alan. 1951. “Songs of the Afro-Bahian Cults: An Ethnomusicological Analysis.” PhD dissertation, Northwestern University.Google Scholar
Merriam, Alan. 1964. The Anthropology of Music. Evanston, IL: Northwestern University Press.Google Scholar
Métraux, Alfred. 1959. Voodoo in Haiti. New York, NY: Oxford University Press.Google Scholar
Miller, Ivor. 2009. Voice of the Leopard: African Secret Societies and Cuba. Jackson, MS: University of Mississippi Press.Google Scholar
Miller, Sue. 2014. Cuban Flute Style: Interpretation and Improvisation. Lanham, MD: Scarecrow Press.Google Scholar
Miñana Blasco, Carlos. 2016. “Between Folklore and Ethnomusicology. Sixty Years of Folk and Vernacular Music Studies in Colombia.” In A Latin American Music Reader. Views from the South, edited by León, Javier and Simonett, Helena, 94–119. Urbana, IL: University of Illinois Press.Google Scholar
Moore, Robin D. 1997. Nationalizing Blackness: Afrocubanismo and Artistic Revolution in Havana, 1920–1940. Pittsburgh, PA: University of Pittsburgh Press.Google Scholar
Moore, Robin D. 2006. Music and Revolution: Cultural Change in Socialist Cuba. Berkeley, CA: University of California Press.Google Scholar
Moore, Robin D. 2010. Music in the Hispanic Caribbean: Experiencing Music, Expressing Culture. New York, NY: Oxford University Press.Google Scholar
Moore, Robin D, ed. 2018. Fernando Ortiz on Music. Selected Writings on Afro-Cuban Culture. Philadelphia, PA: Temple University Press.Google Scholar
Moreau de Saint-Méry, Médéric Louis Elie. 1798. Description Topographique, Physique, Civile, Politique et Historique de la Partie Française de l’isle Saint-Domingue. Paris: Dupont.Google Scholar
Moreno, Dennis. 1994. Un tambor arará. Havana: Editorial de Ciencias Sociales.Google Scholar
Murphy, John P. 2006. Music in Brazil: Experiencing Music, Expressing Culture. New York, NY: Oxford University Press.Google Scholar
Nederveen Pieterse, Jan. 2001. “Hybridity, So What? The Anti-Hybridity Backlash and the Riddles of Recognition.” Theory, Culture & Society 18, 2–3: 219–45.CrossRefGoogle Scholar
Nettl, Bruno. 1964. Theory and Method in Ethnomusicology. New York, NY: Free Press of Glencoe.Google Scholar
Nina Rodrigues, Raymundo. 1935. O animismo fetichista dos negros da Bahia. Rio de Janeiro, Civilização Brasileira.Google Scholar
Ochoa, Juan Sebastián, Santamaría, Carolina, and Sevilla, Manuel, eds. 2010. Músicas y prácticas sonoras en el Pacífico afrocolombiano. Bogotá: Editorial Pontficia Universidad Javeriana.Google Scholar
Oliveira, Jailma Maria. 2014. “Mulheres nos maracatus-nação pernambucanos.” In Inventário cultural dos Maracatus-Nação, edited by Guillen, Isabel Cristina Martins, 139–63. Recife: Editora UFPE.Google Scholar
Oliveira, Jailma Maria, and Albernaz, Lady Selma Ferreira. 2011. “Homens travestidos no maracatu-nação pernambucano: Trânsito entre masculinidade e feminilidade.” Paper delivered at XI Congresso Luso Afro Brasileiro de Ciências Socias. Salvador, August 7–10, 2011. Universidade Federal da Bahía.Google Scholar
Ortiz, Fernando. 1906. Los negros brujos. Apuntes para un estudio de etnología criminal. Madrid: Librería de Fernando Fé.Google Scholar
Ortiz, Fernando. [pseudonymn Juan del Morro]. 1923. “La Sociedad del Folkore Cubano.” Revista Bimestre Cubana, 18, 1: 47–52.Google Scholar
Ortiz, Fernando. 1934. “De la música afrocubana: Un estímulo para su estudio.” Universidad de la Habana 1, 3: 111–25.Google Scholar
Ortiz, Fernando. 1950. La africanía de la música folklórica de Cuba. Havana: Ministerio de Educación.Google Scholar
Ortiz, Fernando. 1951. Los bailes y el teatro de los negros en el folklore de Cuba. Havana: Ministerio de Educación.Google Scholar
Ortiz, Fernando. 1952–55. Los instrumentos de la música afrocubana. 5 vols. Havana: Cárdenas y Cía.Google Scholar
Ortiz, Fernando. 1984a. “La antigua fiesta afrocubana del Día de Reyes.” In Ortiz, Fernando, Ensayos etnográficos, 41–78. Havana: Editorial de Ciencias Sociales. First published in 1920.Google Scholar
Ortiz, Fernando. 1984b. “Los cabildos afro-cubanos.” In Ortiz, Fernando, Ensayos etnográficos, 11–40. Havana: Editorial de Ciencias Sociales. First published in 1921.Google Scholar
Quintero Rivera, Angel G. 1999. Salsa, sabor y control: Sociología de la música tropical. San Juan: Siglo Veintiuno Editores.Google Scholar
Quintero-Rivera, Mareia. 2000. A cor e o som da nação: A idea de mestiçagem na crítica musical do caribe hispánico e do brasil (1928–1948). São Paulo: FFLCH-USP.Google Scholar
Pacini Hernandez, Deborah. 1995. Bachata: A Social History of a Dominican Popular Music. Philadelphia, PA: Temple University Press.Google Scholar
Packman, Jeff. 2011. “Musicians’ Performances and Performances of ‘Musician’ in Salvador da Bahia, Brazil.” Ethnomusicology 55, 3: 414–44.Google Scholar
Pardo Tovar, Andrés 1966. La cultura musical en Colombia. Bogotá: Ediciones Lerner.Google Scholar
Pardo Tovar, Andrés, and Urrea, Jesús Pinzón. 1961. Rítmica y melódica del folclor chocoano. Bogotá: Universidad Nacional de Colombia.Google Scholar
Pardue, Derek. 2008. Ideologies of Marginality in Brazilian Hip Hop. New York, NY: Palgrave Macmillan.Google Scholar
Pardue, Derek. 2012. “Taking Stock of the State: Hip-Hoppers’ Evaluation of the Cultural Points Program in Brazil.” Latin American Perspectives 39, 2: 93–112.Google Scholar
Pedroso, Lázaro (Ogún Tolá). 1995. Obbedi, cantos a los orishas: Traducción e historia. Havana: Artex.Google Scholar
Pereira de Costa, Francisco Augusto. 1908. Folk-lore pernambucano. Rio de Janeiro: O Verl.Google Scholar
Pérez Fernández, Rolando Antonio. 1988. La binarización de los ritmos ternarios africanos en América Latina. Havana: Casa de las Américas.Google Scholar
Pérez Rodríguez, Nancy. 1988. El carnaval santiaguero. 2 vols. Santiago de Cuba: Editorial Oriente.Google Scholar
Pérez Rodríguez, Nancy, et. al. 1982. El cabildo carabalí Isuama. Santiago de Cuba: Editorial Oriente.Google Scholar
Periera de Tugny, Rosângela, and de Queiroz, Ruben Caixeta, eds. 2006. Músicas africanas e indígenas no Brasil. Belo Horizonte: Editora UFMG.Google Scholar
Perna, Vincenzo. 2005. Timba: The Sound of the Cuban Crisis. London: Ashgate.Google Scholar
Perry, Marc. 2016. Negro soy yo: Hip Hop and Raced Citizenship in Neoliberal Cuba. Durham, NC: Duke University Press.Google Scholar
Price-Mars, Jean. 1965. “Homenaje a Fernando Ortiz.” La Gaceta de Cuba 4, 42: 12–13. First published in 1956.Google Scholar
Prior, Andrea. 1999. “The House of Añá: Women and Batá.” CBMR Digest 12, 2: 6–8.Google Scholar
Puri, Shalini. 2004. The Caribbean Postcolonial: Social Equality, Post-nationalism, and Cultural Hybridity. New York, NY: Palgrave Macmillan.Google Scholar
Putnam, Lara. 2013. Radical Moves: Caribbean Migrants and the Politics of Race in the Jazz Age. Chapel Hill, NC: University of North Carolina Press.Google Scholar
Radano, Ronald. 2003. Lying Up a Nation: Race and Black Music. Chicago, IL: University of Chicago Press.Google Scholar
Ramón y Rivera, Felipe. 1953. El joropo, baile nacional de Venezuela. Caracas: E. Armitano.Google Scholar
Ramos, Arthur. 1937. As culturas negras no Novo Mundo. Rio de Janeiro: Civilização Brasileira.Google Scholar
Raphael, Alison. 1990. “From Popular Culture to Microenterprise: The History of Brazilian Samba Schools.” Latin American Music Review 11, 1: 73–83.Google Scholar
Rasmussen, Brander, et al., eds. 2001. The Making and Unmaking of Whiteness. Durham, NC: Duke University Press.Google Scholar
Rivera, Raquel. 2003. New York Ricans From the Hip Hop Zone. New York, NY: Palgrave Macmillan.Google Scholar
Rivera, Raquel, Marshall, Wayne, and Hernandez, Deborah Pacini, eds. 2007. Reggaeton. Durham, NC: Duke University Press.Google Scholar
Rivero, Yeidy. 2005. Tuning Out Blackness: Race and Nation in the History of Puerto Rican Television. Durham, NC: Duke University Press.Google Scholar
Roberts, John Storm. 1972. Black Music of Two Worlds. New York, NY: Original Music.Google Scholar
Roberts, John Storm. 1979. The Latin Tinge: The Impact of Latin American Music on the United States. New York, NY: Oxford University Press.Google Scholar
Rodríguez Domínguez, Ezequiel. 1978. Trío Matamoros: Treinta y cinco años de música popular. Havana: Editorial Arte y Literatura.Google Scholar
Romero, Raúl. 2016. “Music Research in South America.” In A Latin American Music Reader: Views from the South, edited by León, Javier and Simonett, Helena, 75–93. Urbana, IL: University of Illinois Press.Google Scholar
Rommen, Timothy. 2007. “Mek some noise”: Gospel Music and the Ethics of Style in Trinidad. Berkeley, CA: University of California Press.Google Scholar
Rommen, Timothy. 2011. Funky Nassau: Roots, Routes, and Representation in Bahamian Popular Music. Berkeley, CA: University of California Press.Google Scholar
Rommen, Timothy, and Neely, Daniel T., eds. 2014. Sun, Sea, and Sound: Music and Tourism in the Circum-Caribbean. New York, NY: Oxford University Press.Google Scholar
Rowe, William, and Schelling, Vivian. 1991. Memory and Modernity: Popular Culture in Latin America. London: Verso.Google Scholar
Sandroni, Carlos. 2001. Feitiço decente: Transformações do samba no Rio de Janeiro (1917–1933). Rio de Janeiro: Jorge Zahar Editor/Editora UFRJ.Google Scholar
Sansone, Livio. 2003. Blackness without Ethnicity: Constructing Race in Brazil. New York, NY: Palgrave MacMillan.Google Scholar
Saunders, Tanya. 2015. Cuban Underground Hip Hop: Black Thoughts, Black Revolution, Black Modernity. Austin, TX: University of Texas Press.Google Scholar
Sayre, Elizabeth. 2000. “Cuban Batá Drumming and Women Musicians: An Open Question.” Kalinda, 13, 1: 12–15.Google Scholar
Schechter, John, ed. 1999. Music in Latin American Culture: Regional Traditions. New York, NY: Schirmer.Google Scholar
Schweitzer, Kenneth. 2013. The Artistry of Afro-Cuban Batá Drumming: Aesthetics, Transmission, Bonding, and Creativity. Jackson, MS: University Press of Mississippi.Google Scholar
Seigel, Micol. 2005. “The Disappearing Dance: Maxixe’s Imperial Erasure.” Black Music Research Journal 25, 1–2: 93–117.Google Scholar
Seigel, Micol. 2010. Uneven Encounters: Making Race and Nation in Brazil and the United States. Durham, NC: Duke University Press.Google Scholar
Sharp, Daniel B. 2014. Between Nostalgia and Apocalypse: Popular Music and the Staging of Brazil. Middletown, CT: Wesleyan University Press.Google Scholar
Shaw, Lisa. 1999. The Social History of the Brazilian Samba. Aldershot, UK: Ashgate.Google Scholar
Sheriff, Robin E. 1999. “The Theft of Carnaval: National Spectacle and Racial Politics in Rio de Janeiro.” Cultural Antrhopology 14, 1: 3–28.Google Scholar
Simonett, Helena, and Marcuzzi, Michael. 2016. “One Hundred Years of Latin American Music Scholarship: An Overview.” In A Latin American Music Reader: Views from the South, edited by León, Javier and Simonett, Helena, 1–67. Urbana, IL: University of Illinois Press.Google Scholar
Sneed, Paul. 2008. “Favela Utopias: The Bailes Funk in Rio’s Crisis of Social Exclusion and Violence.” Latin American Research Review 43, 2: 57–79.Google Scholar
Stokes, Martin. 2004. “Music and the Global Order.” Annual Review of Anthropology 33: 47–72.Google Scholar
Thomas, Susan. 2009. Cuban Zarzuela: Performing Race and Gender on Havana’s Lyric Stage. Urbana, IL: University of Illinois Press.Google Scholar
Spix, Johann Baptist von. 1976. Viagem pelo Brasil, 1817-1820. São Paulo: Edições Melhoramentos.Google Scholar
Turner, Victor. 1967. The Forest of Symbols: Aspects of Ndemu Ritual. Ithaca, NY: Cornell University Press.Google Scholar
Turner, Victor. 1969. The Ritual Process: Structure and Anti-Structure. Chicago, IL: Aldine.Google Scholar
Vaughn, Umi. 2012. Rebel Dance Renegade Stance: Timba Music and Black Identity in Cuba. Ann Arbor, MI: University of Michigan Press.Google Scholar
Vázquez Rodríguez, Rosa Elena “Chalena.” 1982. La práctica musical de la población negra en el Perú: La danza de negritos de El Carmen. Havana: Casa de las Américas.Google Scholar
Vélez, María Teresa. 2000. Drumming for the Gods: The Life and Times of Felipe García Villamil, Santero, Palero and Abakuá. Philadelphia, PA: Temple University Press.Google Scholar
Verger, Pierre. 1954. Dieux d’Afrique: culte des Orishas et Vodouns à l’ancienne Côte des esclaves en Afrique et à Bahia, la baie de tous les saints au Brésil. Paris: P. Hartmann.Google Scholar
Vianna, Hermano. 1999. The Mystery of Samba. Translated by Chasteen, John Charles. Chapel Hill, NC: University of North Carolina Press.Google Scholar
Vinueza, María Elena. 1988. Presencia arará en la música folklórica de Matanzas. Havana: Casa de las Américas.Google Scholar
Wade, Peter. 1993. Blackness and Race Mixture: The Dynamics of Racial Identity in Colombia. Baltimore, MD: Johns Hopkins University Press.Google Scholar
Wade, Peter. 1999. “Representations of Blackness in Colombian Popular Music.” In Representations of Blackness and the Performance of Identities, edited by Rahier, Jean M., 173–91. Westport, CT: Greenwood Press.Google Scholar
Wade, Peter. 2000. Music, Race, and Nation: Música tropical in Colombia. Chicago, IL: University of Chicago Press.Google Scholar
Waterman, Richard. 1952. “African Influence on the Music of the Americas.” In Acculturation in the Americas: Proceedings and Selected Papers of the 29th International Congress of Americanists, edited by Tax, Sol, vol. 2, 207–18. Chicago, IL: University of Chicago Press.Google Scholar
Weintraub, Andrew, and Yung, Bell, eds. 2009. Music and Cultural Rights. Urbana, IL: University of Illinois Press.Google Scholar
Whitten, Norman Jr.. 1967. “Música y relaciones sociales en las tierras bajas colombianas y ecuatorianas del Pacífico.” América Indígena 27, 4: 635–66.Google Scholar
Whitten, Norman Jr., 1974. Black Frontiersmen: A South American Case. Cambridge, MA: Schenkman Publishing.Google Scholar
Wirtz, Kristina. 2014. Performing Afro-Cuba: Image, Voice, Spectacle in the Making of Race and History. Chicago, IL: University of Chicago Press.Google Scholar
Yúdice, George. 2003. The Expediency of Culture: Uses of Culture in the Global Era. Durham, NC: Duke University Press.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×