Latin American Music Review

Volume 44, Issue 2, Fall/Winter 2023

Articles

El computador virtuoso: Music, Technology, and the Market in Popular Unity’s Chile
by Natália A. Schmiedecke and Danilo P. Avila

Canciones de comparasas de afrodescendientes del carnaval de Buenos Aires (1870–1902): Inventario y análisis de sus letras y formas musicales
by Ezequiel Adamovsky

Queer Ecologies and Apocalyptic Soundings: The Caribbean Artivism of Rita Indiana
by Ruthie Meadows

A Modernist Tradition: Brazilian Composer César Guerra-Peixe in the 1950s
by Frederico Barros

Reviews

Yengakatu, les belles chansons: Anthologie des chants wayãpi du haut Oyapock, by Jacky Maluka Pawe, Luc Taitetu Lassouka, Jérémie Wilaya Mata, and Jean-Michel Beaudet
reviewed by Miguel Olmos Aguilera

Between Norteño and Tejano Conjunto: Music, Tradition and Culture at the U.S.-Mexico Border, by Luis Díaz-Santana Garza
reviewed by Kim Anne Carter Muñoz

The Sweet Penance of Music: Musical Life in Colonial Santiago de Chile, by Alejandro vera
reviewed by Paulo Castagna

Cinesonidos: Film Music and National Identity during Mexico’s Época de Oro, by Jacqueline Avila
reviewed by Cary Peñate

De Nueva España a Méxcio: El universo musical mexicano entre centenarios, by Javier Marín-López
reviewed by Kevin Parme

Volume 44, Issue 1, Spring/Summer 2023

Articles

Reimagining Latin Music New York City: The Impact of Rafael Petitón Guzmán
by John Bimbiras and Paul Austerlitz

Candid Carnival: Song Videos and Social Media Intimacies in the Peruvian Andes
by Violet Cavicchi Muñoz

Ensamblando las notas de un mercado sonoro: Las Primeras grabaciones comerciales en la Ciudad de México (1892-1903)
by Jaddiel Diaz Frene

Reviews

Singing Our Way to Freedom: A Review Essay
reviewed by Peter J. García and Carlos Carrasco

Rafael Petitón Guzmán: A Dominican Musical Treasure on the World Stage, by The Dominican Studies Institute Orchestra
reviewed by Darío Tejeda

Antonio Carlos Jobim, by Isabelle Leymarie
reviewed by Maria Beatriz Cyrino Moreira

Tan lejos y tan cerca: El compositor interpreta su obra para guitarra, by Alex Rodríguez
reviewed by Hermann Hudde

Naná Vasconcelos’s Saudades, by Daniel B. Sharp
reviewed by Steven F. Butterman

Modernity and Colombian Identity in the Music of Carlos Vives y La Provincia, ,  by Juan Sebastián Ochoa, Carolina Santamaría-Delgado, and Carlos Eduardo Cataño
reviewed by Juan Sebastián Rojas

Volume 43, Issue 2, Fall/Winter 2022

Articles

Music Entrepreneurs in Contemporary Havana: The Children of Transition
by Freddy Monasterio

Tópicos musicales de escena y salón en el templo: Arrepentimiento, loor y exaltación en las canciones religiosas de Pedro Ximénez (Sucre, Bolivia, 1833–1856)
by Zoila Vega Salvatierra

Apogee and Decline of Chilean Cathedral Music in the Nineteenth Century: Revisiting the Historiographical Canon
by Valeska Cabrera and Mario Poblete

Reviews

Lieder aus Chile/Canciones de Chile, by Violeta Parra
reviewed by Steven Loza

Elite Art Worlds: Philanthropy, Latin Americanism, and Avant-Garde Music, by Eduardo Herrera
reviewed by Jesse Bruer

The Music of Antonio Carlos Jobim, by Peter Freeman
reviewed by Maria Beatriz Cyrino Moreira

Latin Jazz: The Other Jazz, by Christopher Washburne
reviewed by Sue Miller

The Cultural Work: Maroon Performance in Paramaribo, Suriname, by Corinna Campbell
reviewed by Yvonne Daniel

Capricho para pianoforte, en forma de cielito,  by Juan Pedro Esnaola
reviewed by Silvina Luz Mansilla

Volume 43, Issue 1, Spring/Summer 2022

Articles

Actitud decolonial, linajes y saberes otros en la música y las letras de Los Jaivas
by Israel Holas Allimant y Sergio Holas

Álbumes musicales de mujeres, marcas de uso y escena cultural
by Laura Jordán González y Fernanda Vera Malhue

La red Musical atlántica: Circulación de instrumentos musicales entre España y Nueva Granda (1778–1804)
by Oriol Brugarolas y Lluís Bertran

Reviews

Música ritual de un pueblo huave, by Roberto Campos Velázquez
reviewed by Robert L. Kendrick

Bossa Mundo: Brazilian Music in Transnational Media, by K. E. Goldschmitt
reviewed by Martha Tupinambá de Ulhoa

The Invention of Latin American Music: A Transnational History, by Pablo Palomino
reviewed by Daniel F. Castro Pantoja

Heavy Metal Music in Argentina: In Black We Are Seen, by Emiliano Scaricaciottoli, Nelson Varas-Díaz, and Daniel Nevárez Araújo
reviewed by Guillermo A. Luppi

Marasa Twa (three-album triology). Water Prayers for Bass Clarinet, by Dr. Merengue, and The Vodou Horn, by Paul Austerlitz
reviewed by Rebecca D. Sager

Styling Blackness in Chile: Music and Dance in the African Diaspora,  by Juan Eduardo Wolf
reviewed by Laura Jordán González

Volume 42, Issue 2, Fall/Winter 2021

Articles

José Ángel Lamas (1775-1814) y el arte útil de Antiguo Régimen en Venezuela
by David Coifman Michailos

Revisitando a Robert Stevenson: Entre cartas, viajes, y la musiología latinoamericana del siglo XX
by Laura Fahrenkrog

Carlos Chávez in Mabel Dodge Luhan’s “Whirling around Mexico”
by Christina Taylor Gibson

Cariocas de New Orleans: Brazilian Interpretations of North American Jazz
by Rafael do Nascimento Cesar

Reviews

Mariachi Reyna de Los Ángeles (CD), by Mariachi Reyna de Los Ángeles
reviewed by Monica Fogelquist

Thinking about Music from Latin America: Issues and Questions, by Juan Pablo González
reviewed by Amanda Minks

Moving Otherwise: Dance, Violence, and Memory in Buenos Aires, by Victoria Fortuna
reviewed by Wanda Balbé and Camila Losada

Machine Gun Voices: Favelas and Utopia in Brazilian Gangster Funk, by Paul Sneed
reviewed by Derek Pardue

Sounds of Crossing: Music, Migration, and the Aural Poetics of Huapango Arribeño, by Alex E. Chávez
reviewed by Kevin Parme

Cultural Nationalism and Ethnic Music in Latin America, Edited by William H. Beezley
reviewed by Viviana Parody

Volume 42, Issue 1, Spring/Summer 2021

Articles

Escribir, componer, improvisar: Prácticar creativas desde la perspectiva de jóvenes raperos de La Plata
by Ana Abrina Mora

Whistling, Gender, and the Aesthetic Turn in Mexico City
by Anthony W. Rasmussen

Back to the Neighborhood: Musical Contributions to the Study of Locality in latin American Cities
by Christian Spencer-Espinosa

Zapateado en sones de Xantolo y sones Huastecos: Sensacíon fiscamente encarnada
by Raquel Paraiso y Román Güemes Jiménez

Reviews

The Latin American Songbook in the Twentieth Century: From Folklore to Militancy, by Tania da Costa Garcia
reviewed by J. Ryan Bodiford

Bandas de música: Contextos interpretativos y repertorios, Edited by Nicolás Rincón Rodríguez and David Ferreiro Carballo
reviewed by Ketty Wong

Sound, Image, and National Imaginary in the Construction of Latin/o American Identities, edited by Héctor Fernández L’Hoeste and Pablo Vila
reviewed by Jacqueline Avila

A todas las imágenes del mundo: Antología del canto a lo divino, by Daniel González y Danilo Petorvich (investigación y recopilación)
reviewed by Ignacio Ramos Rodillo

Música popular y sociedad en el Perú contemporáneo, Edited by Raúl Renato Romero
reviewed by Jonathan Ritter

¿Músico pagado toca mal son? Unas miradas hacia el mercado laboral del son jarocho, by Randall Kohl
reviewed by Alexandro D. Hernández

Latin American Music Review publishes original articles in the fields of musicology and ethnomusicology, broadly defined, applied to Latin American musical expressions. Manuscripts, notes, and bibliographies should be typed double-spaced with ample margins, free of identifying information, and submitted electronically as Microsoft Word (.doc) or Rich Text (.rtf) files at https://lamr.scholasticahq.com/. The total length of the article, including notes and bibliography, should be approximately 8,000–12,000 words. If score examples, photographs, or other diagrams are to be included, please attach them separately as graphic files (.tif or .jpg) with as high a resolution as possible (300 dpi minimum). Along with the article, please submit two short abstracts of 75–100 words each—one in English, and the other in Spanish or Portuguese. Underneath each abstract, please designate 4–6 keywords that pertain to your article. Also submit a brief biographical sketch of the author of approximately 75–100 words, submitted as a separate word document. Articles and reviews may be submitted in English, Spanish, or Portuguese, and formatting for punctuation, quotations, and capitalization should follow the conventions for scholarship in the language of the article. Formats for notes and bibliography are those of the Chicago Manual of Style. Communications and books and CDs for review should be sent to the editor, Robin Moore, School of Music, 1 University Station E3100, University of Texas, Austin, TX 78712-0435.

La Revista de Música Latinoamericana publica artículos originales en los campos de musicología y etnomusicología, ampliamente definidos, dedicados a las expresiones musicales latinoamericanas. Los manuscritos, notas y bibliografías se deben redactar a espacio doble y márgenes suficientes, sin información identificativa, como archivos de tipo Microsoft Word (.doc) o Rich Text (.rtf) que se puede mandar al https://lamr.scholasticahq.com/. El tamaño total del artículo, incluyendo las notas y la bibliografia, debe ser aproximadamente 8,000–12,000 palabras. Si se deben incluir imágenes (partituras, fotos u otras figuras), favor de adjuntarlos como archivos gráficos (.tif o .jpg) separados, con la resolución más alta posible (mínimo de 300 dpi). Con el artículo, favor de incluir dos breves reseñas—una en español o portugués, y otra en inglés (75–100 palabras cada uno). Debajo de cada reseña, favor de incluir 4–6 palabras clave que pertenecen a su artículo. También incluya una biografía del autor de 75–100 palabras, presentado como documento separado. Las materias se pueden entregar en inglés, español o portugués, y el formato para puntuación, citas y uso de mayúscula se debe seguir las normas para publicaciones en el idioma del artículo. En cuanto al estilo de notas y bibliografía, véase el Chicago Manual of Style o utilice el estilo Harvard. Otras comunicaciones, libros y CDs enviados para reseñas se deben mandar al editor, Robin Moore, School of Music, 1 University Station E3100, University of Texas, Austin TX 78712-0435.

Editorial Correspondence and Review Copies: Robin D. Moore, Latin American Music Review, School of Music, MRH 3.204, University of Texas, Austin, TX 78712-1208. (Email: lamr@austin.utexas.edu).

BOOK, CD, & DVD REVIEW GUIDELINES  

Reviews should be 800–1,200 words. Fewer than 800 words is also acceptable, and may be more appropriate for CD and DVD reviews. Given space limitations, we ask that you do not exceed 1,200 words.

BOOK REVIEWS 

We recommend that you do not summarize chapter by chapter. The main goal of the review is to situate the publication vis-à-vis existing literature. Brief discussion of content is acceptable, but we stress that content needs to be evaluated in terms of its contribution to current work on Latin American music. You may wish to address the following:

• What are the author’s goals? Are they achieved?
• How does the publication contribute to the existing literature and current work on Latin American Music?
• What is the Target Audience? Who—specialists, music scholars, music instructors, graduate students, undergraduate students, performance students, the general public, etc.—would find the publication useful?
• Are the author’s arguments supported with compelling evidence?
• What is the author’s methodology?
• Brief comments on writing style; for example, is the writing clear? does the author employ technical language?
• Does the publication include musical examples/analyses?
• Does the publication include multi-media materials, such as an accompanying CD, mp3 downloads, or supporting website?
• A brief statement of the publication’s strongest and less-satisfactory aspects.

CD REVIEWS

You may wish to address the following:

• Comments on the liner notes: How useful are they? Who is the author? How is the material presented? its organization, conceptualization, languages, etc.
• How does the CD contribute to exiting sources of similar genre, period, region, style, etc.
• Is the music already commercially available?
• What is the recording quality? Are these field recordings?
• What are the goals of the CD?
• How useful is the CD for pedagogical or research purposes?
• Does the CD include additional video/online resources?

DVD REVIEWS

These should be treated as book reviews: Situate the DVD in relation to existing materials on Latin American music scholarship, the goals of the DVD, the target audience, its utility for pedagogical and research purposes, etc.

FORMAT 

• Times New Roman font and submitted as MS Word document.
• Please include bibliographic/discographic information at the beginning of the review. Place your name and affiliation at the end of the review.
• For citations, use a simple parenthetical style: “citation” (129). References should be kept to a minimum and included only when absolutely necessary. If citing an outside reference use: “citation” (Author, 2010: 213). Again, we ask that outside references be kept to a minimum.

Please send reviews to the assistant editor at: lamr@austin.utexas.edu

GUIA PARA RESENHAR LIBROS, CDS, & DVDS 

Resenhas devem ser 800–1,200 palavras. Menos de 800 palavras está aceitável, e talvez mais apropriado por resenhas de CD ou DVD. Por causa de limitações de espaço, pedimos que não ultrapasse 1,200 palavras.

Resenha de livros 

Recomendamos que não resume capitulo por capitulo. O objetivo principal da resenha é situar o livro vis-à-vis a literatura existente. Breve discussão do conteúdo está aceitável, mas enfatizamos que o conteúdo precisa ser avaliado pela sua contribuição ao trabalho atual sobre a música da America latina. Consideria (Talvez gostaria/desejaria?atingir/tratar-se dos seguintes aspectos/questões/pontos:

• Quais são os objetivos do/a autor/a? Foram realizados?
• Como contribuir o livro à literatura acadêmica e/ou à pesquisa atual/contemporânea da música latinoamericana?
• Quem é o público-alvo? A publicação é mais útil quem, especialistas, acadêmicos, professores/as de música, alunos graduando ou pós-graduando, estudantes de programas acadêmicos ou de performance, o público geral, etc. ?
• Os argumentos de autor/a são apoiado com provas convincentes?
• Qual é a metodologia do/a autor/a?
• Breves comentários sobre o estilo de escrever; por exemplo, o texto está nítido? O/A autor/a usa linguagem técnica?
• A publicação incluir exemplos de partituras e análises?
• A publicação incluir materiais multimídia, como CD, mp3 downloads, ou uma web site que acompanha a publicação?
• Comentários sobre os fortes e menos bons aspectos.

Resenha de CDs 

Considere (Talvez gostaria/desejaria?atingir/tratar-se dos seguintes aspectos/questões/pontos:

• Comentários sobre a encarte do álbum: São úteis? Quem é o/a autor/a? Como está apresentada o material?, sua organização, conceitualização, linguagens, etc.?
• Como contribuir o CD aos fontes existentes do mesmo gênero, período, região, estilo, etc.?
• A música já estava disponível antes desse novo CD?
• Informações sobre a qualidade da gravação? São gravações do campo?
• Quais são os objetivos do CD?
• O CD está útil para fins pedagógicas ou de pesquisa?
• O CD incluir recursos adicionais, como vídeo ou online?

Resenhas de DVD, devem ser tratados como resenhas de livro: Situe o DVD em relação das materiais já existentes sobre pesquisa em música latinoamericana, os objetivos do DVD, o público-alvo, e a utilidade do DVD por fins pedagógicas e acadêmicos, etc.

Formato 

• Times New Roman font e entregado como documento de MS Word
• Por gentileza incluir a informação bibliográfica/discográfica no início da resenha. Coloque o seu nome e afiliação profissional no final da resenha.
• Para citações, use um estilo parentética simplificado, ex.: “citação” (129). Referências devem ser mínimas e incluídas só se for absolutamente necessário. Caso de citar uma referência externo use: “citation” (Autor/a, 2010: 213). De novo, pedimos que referencias externas sejam mínimas.

Por favor, enviar resenhas a assistente editor: lamr@austin.utexas.edu

Peer-Review Process

Articles submitted to the Latin American Music Review/Revista de Música Latinoamericana are initially reviewed by the editors, who determine whether the manuscript will be sent to outside reviewers. If chosen for review, the manuscript is then evaluated in a double-blind process by at least two outside reviewers, including members of the journal’s Editorial Board and/or other experts in relevant fields as selected by the editors. This peer review process is designed to ensure that the LAMR publishes only original, accurate, and timely articles that contribute new knowledge, insights or valuable perspectives to our discipline.

Evaluation

Reviewers play a vital role in ensuring the quality of papers published in the journal.

Questions addressed by reviewers include:

• Is the topic within the scope of the journal?
• Does the topic contribute in useful ways to existing scholarship/knowledge?
• Is the scholarship adequately documented and is relevant literature reviewed?
• Are the research aims and methodological choices made by author clear and justified?
• Is the article well organized and clearly written?

Reviewers make one of three recommendations: acceptance (that can also be accepted with revision), revise & resubmit (that implies a new submission by the author that can be reviewed by the same colleagues or two new revisors), and rejected.  Reviewers are asked to include comments explaining the recommendation to provide authors with suitable feedback to improve the article. Our aim is to create a constructive process that benefits the journal and the authors while respecting the time and efforts of all volunteer reviewers.

Review Timetable

We understand that the timeliness of decisions and publication is a major concern of authors. The typical manuscript is reviewed by one of the editors and sent out to reviewers within a couple of weeks after submission. Reviewers typically have six weeks to prepare their review (a second round of reviews may be solicited if the initial reviewers disagree). Then a couple of weeks are typically required to reconcile reviewer comments (and identify any significant copyediting issues for papers that were accepted or accepted with slight revisions). Thus, it is quite possible that an author could hear back in less than two months from the time of submission. However, the realities of the peer-review process (especially our reliance on the work of international scholars) sometimes extend our timeline. You will receive a response as expeditiously as possible. If you are seeking publication for a tenure packet, please allow ample review time and let us know this is a consideration. Authors receive the reviewers’ comments and are often asked to revise the manuscript in line with the reviewers’ and/or editor’s suggestions. If the revised article is accepted for publication, the editor then determines the journal issue in which it will appear. Authors can help speed the process by ensuring they follow the submission requirements and, if accepted, addressing the reviewers comments and any copy-editing requirements in a timely fashion.

Publication Ethics
The editor(s) and editorial board of the Latin American Music Review are committed to the following:

• We will make our best efforts to ensure that our peer-review processes and editorial decisions are fair and unbiased, and that manuscripts are judged solely on their merits by individuals with appropriate levels of expertise in the subject area.
• We have the right to reject a manuscript at any point in the process if, after an unbiased evaluation, it is the opinion of the editor(s) it does not contribute significantly to existing scholarship, does not align with the journal’s mission or editorial policies, or would be in conflict with the journal’s legal requirements.
• We treat submitted manuscripts as confidential documents and will not discuss them or share information about them with anyone outside the editorial staff, editorial board, potential reviewers, or the publisher.
• We expect transparency on the part of editors and reviewers regarding potential conflicts of interest and will assign manuscripts to individuals who are not expected to have such conflicts.
• We expect authors to help us uphold our ethical standards by
  • submitting only original, unpublished works;
  • respecting the intellectual property rights of others;
  • adhering to the journal’s policies regarding simultaneous submissions;
  • acknowledging sources;
  • appropriately crediting all authors, other research participants, and funding sources;
  • disclosing any potential conflicts of interest; and
  • notifying the editors and/or publisher of any significant errors discovered after submission or publication.
• We will promptly investigate any credible allegation of unethical or illegal practices related to an article we have published. When warranted, we will issue corrections, retractions, and/or apologies, working with the author(s) as appropriate to find the best resolution.
• Concerns may be reported directly to the editor(s) or publisher by email at lamr@austin.utexas.edu

Latin American Music Review is indexed in the Academic Search Premier, Hispanic American Periodicals Index (HAPI), IBR (International Bibliography of Book Reviews), IBZ (International Bibliography of Periodical Literature), The Music Index. 

Published Semiannually

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• Publisher’s liability for error will not exceed cost of space reserved.
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• Invoices and tear sheets will be issued shortly after journal publication.
• We prefer to have ads as Portable Document Format (PDF) files.

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