New American Music Reader


Book Description




A Latin American Music Reader


Book Description

Javier F. León and Helena Simonett curate a collection of essential writings from the last twenty-five years of Latin American music studies. Chosen as representative, outstanding, and influential in the field, each article appears in English translation. A detailed new introduction by León and Simonett both surveys and contextualizes the history of Latin American ethnomusicology, opening the door for readers energized by the musical forms brought and nurtured by immigrants from throughout Latin America. Contributors include Marina Alonso Bolaños, Gonzalo Camacho Díaz, José Jorge de Carvalho, Claudio F. Díaz, Rodrigo Cantos Savelli Gomes, Juan Pablo González, Rubén López-Cano, Angela Lühning, Jorge Martínez Ulloa, Maria Ignêz Cruz Mello, Julio Mendívil, Carlos Miñana Blasco, Raúl R. Romero, Iñigo Sánchez Fuarros, Carlos Sandroni, Carolina Santamaría-Delgado, Rodrigo Torres Alvarado, and Alejandro Vera.



















New American Music Reader, Vol. 2 (Classic Reprint)


Book Description

Excerpt from New American Music Reader, Vol. 2 The new american music reader number Two begins the study of stad' nota tion and keys, with their proper signatures. These are introduced at intervals, giving the necessary practice in each before a new key is studied. This plan avoids the confusion experienced when many keys are introduced near together. The new rhythms are and Until 618 time is taken up, the quarter-note is continued as the unit of measurement and the beat note. The exercises and studies are founded on melody, and the songs themselves, unless designated as rote, are to be used as studies for sight-reading. All work is related to and derived from song. Thus the dictation of intervals, of rhythm and its variations, together with the studies in enu'nciation, are drawn from the songs which they precede, and lead directly to their interpretation. The child thus sees the intention, realizes the value and the practical application of this drill, and is willing to work, since his labor results in song. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.




New American Music Reader, Vol. 4 (Classic Reprint)


Book Description

Excerpt from New American Music Reader, Vol. 4 Book No. 4 completes the series of the New American Music Readers. For Elementary and H igh Schools. - The methods of this book naturally follow those of the preceding numbers in the series, and the needs of the classes in the advanced grammar grades, namely, those of the seventh and eighth years, are fully met. It will be found also that the methods and material in the book are well adapted to work in high schools where a text-book is needed. The book has been two years in preparation, and the material has been drawn not only from the author 's actual experience in teaching, but also from the experience of many leading supervisors of music in this country and in Europe. An examination of Book No. 4 will show that needed reviews in keys, rhythms and other technical details have not been neglected, and it should be noted that examples are found in all the minor keys. Nevertheless it has been deemed wise, since the greater part of needed technical work has already been thoroughly developed in the preceding books of the series, to make this, the concluding volume, one that is particularly characterized as a book of song. The work in upper grammar grades, if the previous training has been properly done, may very well largely consist of the sight reading of songs songs of a character that will interest and stimulate the pupils. It is notorious that in these years interest is liable to fall off if the study is made too technical. Pupils enjoy good music, and no trouble is experienced in inducing them to sing if good music is presented to them. Great care should be taken to bring out aesthetic values and emotional quality in the interpretation of song. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.




The Invention of Latin American Music


Book Description

The ethnically and geographically heterogeneous countries that comprise Latin America have each produced music in unique styles and genres - but how and why have these disparate musical streams come to fall under the single category of "Latin American music"? Reconstructing how this category came to be, author Pablo Palomino tells the dynamic history of the modernization of musical practices in Latin America. He focuses on the intellectual, commercial, musicological, and diplomatic actors that spurred these changes in the region between the 1920s and the 1960s, offering a transnational story based on primary sources from countries in and outside of Latin America. The Invention of Latin American Music portrays music as the field where, for the first time, the cultural idea of Latin America disseminated through and beyond the region, connecting the culture and music of the region to the wider, global culture, promoting the now-established notion of Latin America as a single musical market. Palomino explores multiple interconnected narratives throughout, pairing popular and specialist traveling musicians, commercial investments and repertoires, unionization and musicology, and music pedagogy and Pan American diplomacy. Uncovering remarkable transnational networks far from a Western cultural center, The Invention of Latin American Music firmly asserts that the democratic legitimacy and massive reach of Latin American identity and modernization explain the spread and success of Latin American music.