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Epilogue: Carrying Tango Studies into the Future

from Part IV - Interdisciplinary Tango Studies

Published online by Cambridge University Press:  15 March 2024

By
Kristin Wendland  and
Kacey Link
Edited by
Kristin Wendland  and
Kacey Link
Kristin Wendland
Affiliation:
Emory University, Atlanta
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Summary

As we laid out the final chapter order of this book, we reflected on the research questions we initially posed when soliciting proposals from an array of tango scholars and scholar-artists. How do diverse humanistic fields of inquiry further shape our understanding of the tango art form? Inversely, how does the tango help us further understand culture and society? How do interdisciplinary perspectives on tango influence current scholarship? How do international perspectives on and research approaches to tango differ, and why are they important?

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Chapter
Information
The Cambridge Companion to Tango , pp. 364 - 369
Publisher: Cambridge University Press
Print publication year: 2024

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References

Further Reading

Alberto, Paulina L. Black Legend: The Many Lives of Raúl Grigera and the Power of the Racial Storytelling in Argentina. Cambridge: University of Cambridge Press, 2022.Google Scholar
Apprill, Christophe. Tango: le couple, le bal, la scène. Paris: Autrement, 2008.CrossRefGoogle Scholar
Asaba, Yuiko. “‘Folds of the heart’: performing life experience, emotion, and empathy in Japanese tango music culture.” Ethnomusicology Forum 29, no. 1 (2019): 45–65.CrossRefGoogle Scholar
Davis, Kathy. Dancing Tango: Passionate Encounters in a Globalizing World. New York: New York University Press, 2015.Google Scholar
Dezillio, Romina. “Historizar la experiencia. Hacia una historia de la creación musical de las mujeres en Buenos Aires (1930–1955): fundamentos, metodología y avances de una investigación.” Boletín de la Asociación Argentina de Musicología 27/68 (2012): 18–27.Google Scholar
García Brunelli, Omar. Discografía básica del tango, 1905–2010: su historia a través de las grabaciones. Buenos Aires: Gourmet Musical Ediciones, 2010.Google Scholar
Graciano, Julián. Método Guitarra Tango/Tango Guitar Method. Buenos Aires: Melos, 2016.Google Scholar
Karush, Matthew. Musicians in Transit: Argentina and the Globalization of Popular Music. Durham, NC: Duke University Press, 2017.Google Scholar
Link, Kacey, and Wendland, Kristin. Tracing Tangueros: Argentine Tango Instrumental Music. New York: Oxford University Press, 2016.CrossRefGoogle Scholar
Luker, Morgan James. The Tango Machine: Musical Culture in the Age of Expediency. Chicago: Chicago University Press, 2016.CrossRefGoogle Scholar
Merritt, Carolyn. Tango Nuevo. Gainesville, FL: University Press of Florida, 2012.CrossRefGoogle Scholar
Navitski, Rielle. “The Tango on Broadway: Carlos Gardel’s International Stardom and the Transition to Sound.” Cinema Journal 51/1 (Fall 2011): 26–49.CrossRefGoogle Scholar
Palomino, Pablo. The Invention of Latin American Music: A Transnational History. New York: Oxford University Press, 2020.CrossRefGoogle Scholar
Stepputat, Kendra, Kienreich, Wolfgang, and Dick, Christopher. “Digital Methods in Intangible Cultural Heritage Research: A Case Study in Tango Argentino.” ACM Journal on Computing and Cultural Heritage 12, no. 2 (2019): 1–23.CrossRefGoogle Scholar
Varassi Pega, Bárbara. The Art of Tango. New York: Routledge, 2021.Google Scholar
Varchausky, Igancio. El contrabajo en el tango/The Bass in Tango (in Spanish and English). Buenos Aires: Tango Sin Fin, 2018.Google Scholar
Wendland, Kristin. “So You Think You Know Tango?” Coursera Mini-MOOC, with the Emory Center for Faculty Development and Excellence, July 2019.Google Scholar

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