analysis of neoliberal politics in the 1980s and 1990s that had an impact on both labourmigration and shifting geographies of performance – not only of huapango arribeño but other Mexican genres as well. Chapters 4 to 6 approach the topic of ‘sounds of crossing’ from distinct angles: sound’s capacity to negate politics of geographies, to transcend national boundaries, and to open up transnational spaces of living. These new spaces are filled with music and poetry capable of bridging communities, making them meaningful, offering them homes, as Chávez asserts in the conclusion of the book. Published in Duke’s series Refiguring American Music, Sounds of Crossing challenges the idea of ‘American’ music as either White or Black: so-called Mexican or ‘Regional Mexican’ music (an umbrella label created by the music industry that subsumes various rural-derived Mexican genres popular in the U.S.) has been part of the US-American sonic landscape for a long time already. Chávez thus insists on a critical aurality, i.e.

中文翻译：

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通过音乐纪念加里波利：记住和遗忘

对 1980 年代和 1990 年代新自由主义政治的分析，这些政治对劳动力迁移和表演地域的变化都产生了影响——不仅是 huapango arribeño，还有其他墨西哥流派。第 4 章到第 6 章从不同的角度探讨“穿越之声”的主题：声音否定地理政治、超越国界和开辟跨国生活空间的能力。正如查韦斯在书的结尾断言，这些新空间充满了音乐和诗歌，能够连接社区，使它们变得有意义，为它们提供家园。发表在杜克的《重塑美国音乐》系列中，《穿越之声》挑战了“美国”音乐要么是白人要么是黑人的想法：所谓的墨西哥或“地区墨西哥”音乐（由音乐行业创建的一个伞形标签，包含在美国流行的各种源自农村的墨西哥流派）已经成为美式声音景观的一部分已经很长时间了。查韦斯因此坚持批判的听觉，即