Lexington Books
Pages: 186
Trim: 6½ x 9
978-1-4985-7102-9 • Hardback • August 2019 • $111.00 • (£85.00)
978-1-4985-7103-6 • eBook • August 2019 • $105.50 • (£82.00)
Tânia da Costa Garcia is professor and researcher of history and social history at Paulista State University.
Preface: Brief Considerations on Music as the Historian’s Subject of Investigation
Chapter 1: Folklore, Folk Music and the Constitution of a Mixed-Race National Identity
Chapter 2: The Chilean Folk Songbook: From Música Típica to Nueva Canción
Chapter 3: Folklorizing the Popular: A Resistance Operation Against Cultural Globalization in 1950s Brazil
Chapter 4: The Gaucho, Folklore and the Mass Politics of Juan Domingo Perón
Chapter 5: A Single Songbook for all Argentines
Chapter 6: Neither Country nor City: An Imagined Between-Place for the Argentine FolkSong
Chapter 7: Atahualpa Yupanqui: A Dissonant Note in Juan Domingo Perón’s Folk Songbook
Chapter 8: Art and Revolution: a Comparative Study of the Manifesto do Centro Popular de
Cultura (Manifesto of the Popular Center of Culture) and the Manifiesto del Nuevo Cancionero (Manifesto of the New Songbook)
Chapter 9: The Sounds and Meanings of the Latin American Militant Song in Brazil Under Dictatorship Rule (1970)
The Latin American Songbook in the Twentieth Century provides a contextual analysis of musical practices as an expression of identity in Argentina, Chile, and Brazil. Garcia (history and social history, Paulista State Univ., Brazil) sustains her analysis with solid ethnographic and historical data that reveal how and why songs have emerged and their stylistic and functional evolution, as products of specific cultures that define the perimeter within which music evolved. The book is an excellent model of ethnographic and ethnomusicological analysis, and the information it provides reveals the hidden social roles of songs in their respective context, in time and space. Garcia structures the book in two. . . sections. Part 1, “From Folklore to Mass Media,” comprises seven chapters devoted to folk music traditions from Argentina, Chile, and Brazil, highlighting the characteristics that identify the songs with their respective country. In part 2, “The Militant Song in Latin America" (two chapters), the author outlines the role of militant songs in various political movements. All this is written in language accessible to all readers. The book closes with a generous reference list.
Summing Up: Recommended. Graduate students, researchers, faculty.
— Choice Reviews