By Dale A. Olson, Daniel E. Sheehy
The Garland guide of Latin American song is created from essays from The Garland Encyclopedia of global tune: quantity 2, South the United States, Mexico, valuable the USA, and the Carribean, (1998). Revised and up-to-date, the essays provide unique, nearby stories of the several musical cultures of Latin the United States and consider the ways that track is helping to outline the identification of this actual sector. half One offers an in-depth creation to the world of Latin the USA and describes the historical past, geography, demography, and cultural settings of the areas that include Latin the United States. It additionally explores the various how you can study Latin American tune, together with archaeology, iconography, mythology, heritage, ethnography, and perform. Part Two makes a speciality of matters and approaches, similar to background, politics, geography, and immigration, that are answerable for the similarities and the diversities of every region’s strong point and individuality. Part Three specializes in different areas, nations, and cultures of Caribbean Latin the United States, heart Latin the United States, and South the USA with chosen neighborhood case stories. the second one variation has been extended to hide Haiti, Panama, a number of extra Amerindian musical cultures, and Afro-Peru. Questions for severe considering on the finish of every significant part advisor concentration realization on what musical and cultural matters come up whilst one stories the tune of Latin the United States -- concerns that may now not ensue within the examine of alternative musics of the realm. audio compact discs provide musical examples of a few of the song of Latin the United States.
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Extra resources for Handbook of Latin American Music, Second Edition
Iconography, however, studies the meanings attached, usually pictorially, to artifacts. Music iconography is the description (music iconology, the science) of music through its representation in sculpture, painting, and other plastic arts. Through it, researchers can gain an understanding of events, processes, and performances during the era in which the artifact was authentically used. It is a record of knowledge that is not fully reliable in itself, but when added to archaeological, historiographic, and ethnographic records, can tell much about a culture.
Olsen, 1989. 13 A ceramic ﬁgurine of a man playing a fourtubed panpipe with one hand and a rattle with another. D. 300. Photo by Dale A. Olsen, 1989. 11 is probably playing with a mallet, but we cannot tell how he hits the drumhead (in the middle? on the rim of the skin? with his ﬁngers? ). 12 is obviously playing with his ﬁngers, but we cannot tell which parts of the ﬁngers (tips or middle joints), nor can we tell which holes he covers with which ﬁngers (this would be important information to know for the purposes of determining whether or not ancient Mexicans played multipart music on their multi-tubed ﬂutes).
Olsen 1986, 1987, 1989, 1990). Colombia, however, is a grave robber’s dream (an archaeologist’s nightmare), and few excavated artifacts have been properly documented. Many sit today in museums in Bogotá, in private collections, and in stores that specialize in selling antiquities alongside numerous fakes. The Sinú lived in large cities with elaborate ceremonial centers, situated in the lowlands of northwestern Colombia, along the Sinú River in the present department of Córdoba. Most of their musical instruments are elongated duct ﬂutes made of ﬁred clay.
Handbook of Latin American Music, Second Edition by Dale A. Olson, Daniel E. Sheehy