Reviewed by:

• Thinking about Music from Latin America: Issues and Questions ed. by Juan Pablo González
• Christine Fernández

Noting the interdisciplinary field of musicology, the book’s discourse centers on the renewal and rearticulation of the field based on scholarly dialogue of the mid-1980s by tracing the origins of critical discussions in Latin American musicology as they first emerged in the 1930s. The book’s initial publication in Chile and Argentina in 2013, as well as its publication in Brazil in 2016, was favorably reviewed by Latin American presses and academic journals; the book’s translation to English marks the globalized discussion with its Western origins by framing Latin America in continental, hemispheric lens influenced by americanismo, inter-Americanism, and Latin American studies. The book’s content—influenced by a series of conference proceedings from the International Association for the Study of Popular Music individually published throughout 2002–2012—hones in on Latin America and provides case studies primarily focused on Chilean popular music, with a lesser emphasis on Argentine and Brazilian popular music. The book situates these examples in broader discussions on Latin American musicology and affirms aesthetic influences and trends that mark the multi-disciplinary turn in the field of critical musicology influenced by the humanities and social sciences.

González opens the discussion in four chapters that position the inter-disciplinarity of the field as the overall study framework in postcolonial theory, and listening acknowledges the integral role of regional cultural studies and popular music—and the theoretical positioning of Latin American musicology as it engages in broader epistemological discussions through the analysis of cases taking place between the earlier half of the twentieth century through the first decades of the twenty-first century. The book’s overview gives insight into the colonial processes of the Spanish conquest in the Americas, leading to its resulting mestizaje, or racial/ethnic and cultural hybridity, before delving into thematic case studies in chapters 6–11 that focus on iconic movements, figures, and examples of popular music from Latin America. Ranging from broader discussions in transnationalism, [End Page 177] deterritorialized listening, and the appropriation of indigenous instruments and sounds, the book’s primary focus lends itself to discussing Chilean examples of popular music and its cultural phenomena opening with the case study of the legendary foxtrot song “Marcianita” and its ever-evolving variants and hybrid elements regarding jazz and rock and roll; other chapters delve into the role of women, as with cantoras campesinas and neofolk artists such as Violeta Parra, who were not formally recognized in musicology until the early 1990s, revealing a thirty-year gap in inquiry that had been previously addressed by the humanities and social sciences (González 93). The revolutionary consciousness of the political climate of the 1960s and 1970s, along with the role of world music, are integral to understanding the contributions of renowned Chilean Nueva Canción (new song) artist Violeta Parra’s socially conscious art and music, exemplified by her anticuecas that defied conventions and generic codes of the traditional Chilean cueca. Likewise, its subsequent chapters seven through ten engage in discussions with modernity and the avant-garde, in providing countercultural examples that challenged conventional norms, as seen with renowned neofolk artist

Víctor Jara’s own aesthetic involvement with “language, [by] applying strategies of collective creation, and interlacing music with drama and dance,” is reflected in his successful artistic direction and the reinvigoration of widely acclaimed folk music groups such as Quilapayún and Inti-Illmani (González 118). Other countercultural examples include the Chilean rock-folk band Los Jaivas, who were largely influenced by the California hippie movement and its musicians, and their undeniable impact on youth in promoting collectivistic approaches to performances that lent agency to the audience during improvisation and further inspired the revolutionary spirit of the 1970s. These countercultural examples are pivotal when juxtaposed in the following chapter’s focus on military dictatorships in Brazil and Chile, disclosing the “counterfusion” of musical and literary aesthetic...

审核人：

• 关于拉丁美洲音乐的思考：问题与问题ed。通过胡安·帕勃罗·冈萨雷斯（Juan PabloGonzález）
• 克里斯汀·费尔南德斯（ChristineFernández）

ñ奥丁音乐学的跨学科领域的基础上，通过跟踪在拉丁美洲音乐学的关键讨论的来历，因为他们首先在20世纪30年代出现了80年代中期的学术对话的书在球场上的更新和重新表达的话语中心。该书于2013年在智利和阿根廷首次出版，并于2016年在巴西出版，受到拉丁美洲媒体和学术期刊的好评。本书的英文译本通过将拉丁美洲定格在受美洲主义影响的大陆半球透镜中，标志着全球化的讨论及其西方渊源。，泛美主义和拉丁美洲研究。本书的内容受国际流行音乐研究协会（IASF）在2002-2012年期间单独出版的一系列会议记录的影响，主要针对拉丁美洲，并提供了主要针对智利流行音乐的案例研究，而对阿根廷的关注较少和巴西的流行音乐。该书将这些示例放在关于拉丁美洲音乐学的更广泛讨论中，并肯定了美学影响和趋势，这些影响和趋势标志着受人文和社会科学影响的批判音乐学领域的跨学科转向。

冈萨雷斯在四章中展开了讨论，这些论点将领域的跨学科定位为后殖民理论中的整体研究框架，并且聆听承认了区域文化研究和流行音乐的不可或缺的作用，以及拉丁美洲音乐学在其参与过程中的理论定位。通过对二十世纪上半叶至二十一世纪前几十年之间发生的案件的分析，在更广泛的认识论讨论中进行讨论。该书的概述使人们深入了解了西班牙在美洲的征服殖民进程，从而导致了由此而产生的混乱。，或种族/民族和文化的融合，然后再研究第6-11章中的主题案例研究，重点研究标志性的动作，人物和拉丁美洲流行音乐的例子。本书涵盖了跨国主义的更广泛讨论，[End Page 177]去域化的聆听以及对土著乐器和声音的占用，这本书的主要重点是讨论以传说中的狐步舞为开场的智利流行音乐及其文化现象的例子。歌曲“ Marcianita”及其不断变化的变体和涉及爵士乐和摇滚乐的混合元素；其他章节也像坎托拉斯·坎佩西纳斯一样探讨了妇女的作用以及直到1990年代初期才在音乐学领域得到正式认可的新民谣艺术家Violeta Parra，揭示了三十年来在人文和社会科学方面曾提出过的探究鸿沟（González93）。1960年代和1970年代政治气候的革命意识以及世界音乐的作用，是理解智利著名NuevaCanción（新歌）艺术家Violeta Parra的具有社会意识的艺术和音乐的贡献所不可或缺的一环，例如她的滑稽动作：传统的智利cueca的违背约定和通用代码。同样地，其后的第七章至第十章也与现代性和前卫进行了讨论，提供了挑战传统规范的反文化实例，如著名的新民俗艺术家所看到的那样。

维克多·贾拉（VíctorJara）自己对美学的参与，“通过运用集体创作的策略，以及通过将音乐与戏剧和舞蹈交织在一起来实现语言”，体现在他成功的艺术指导和广受赞誉的民间音乐团体的复兴中，例如奎拉帕尤和因蒂-伊尔曼尼（Inti-Illmani） （冈萨雷斯118）。其他反文化的例子包括智利摇滚乐队Los Jaivas，该乐队在很大程度上受到加利福尼亚嬉皮运动及其音乐人的影响，以及它们对青年人的不可否认的影响，他们促进了集体主义的表演方式，在即兴创作中借给观众以代理权，并进一步启发了表演者。 1970年代的革命精神。在下一章着重于巴西和智利的军事独裁统治时，这些反文化的例子至关重要。