Chapter 11—‘See How She Moves’: Musics of Latin America and the “Oye Como Va” Phenomenon
Olsen, Dale A., and Daniel E. Sheehy (eds.). 1998. The Garland Encyclopedia of World Music, Volume 2: South America, Mexico, Central America, and the Caribbean. Routledge.
This comprehensive encyclopedia volume includes entries on a multitude of topics and issues relating to the music in the Latin American world and in diasporic communities worldwide. A related shorter publication, The Garland Handbook of Latin American Music, 2nd edition (2007), also edited by Olsen and Sheehy, includes selected and edited articles from the original 2000 publication.
McConnachie, James and Mark Ellingham (eds.). 2000. The Rough Guide to World Music, Volume Two: Latin and North America, the Caribbean, Asia & the Pacific. Rough Guides.
This is a good resource for information on popular music traditions. Articles provide historical information, cultural contexts for performance, descriptions of selected musical genres, and biographical sketches of selected artists.
Roote, Deane L. et al. (eds.). 2009-. Grove Music Online. Oxford University Press. Available: http://www.oxfordmusiconline.com/(by subscription).
Part of the Oxford Music Online gateway, this online resource includes the full text of the 2d edition of the multi-volume New Grove Dictionary of Music and Musicians, with ongoing updates. Articles on music by country or region, musical genres, musical instruments, and well-known performers offer valuable information for fact-checking and in-depth research.
Amira, John and Steven Cornelius. 1992. The Music of Santería: Traditional Rhythms of the Batá Drums. White Cliffs Media Company.
A concise but informative introduction to both the Santería religion and the drumming traditions central to it.
Clark, Walter A. (ed.). 2002. From Tejano to Tango: Essays on Latin American Popular Music. Routledge.
Collection of scholarly essays organized in three sections—politics and identity (Argentina and Nicaragua), locality and interlocality (North America and Cuba), and globalization and mass mediation (Brazil and Peru).
Crook, Larry. 2009. Focus: Music of Northeast Brazil, 2nd ed. Focus on World Music Series. Routledge.
Like Cuba, Brazil stands as a giant in the historical and contemporary worlds of Latino/American music. This book provides an excellent and accessible introduction. Includes a compact disk of illustrative musical examples and extensive bibliography for further sources on Brazilian music.
Dunn, Christopher. 2001. Brutality Garden: Tropicália and the Emergence of a Brazilian Counterculture. University of North Carolina Press.
A study of the tropicália cultural movement in Brazil and its relationship to political and social change. Dunn concentrates on the role that Afro-Brazilian musicians from Bahia and urban musicians from São Paulo played in the tropicália movement from the 1960s through the mid-1980s.
Fernandez, Raul A. 2006. From Afro-Cuban Rhythms to Latin Jazz. Berkeley and Los Angeles: University of California Press.
This study explores Cuban dance music and its history and shows how particular musicians and their performances have contributed to shaping jazz and popular music in America.
Galm, Eric A. 2010. The Berimbau: Soul of Brazilian Music. Jackson: University Press or Mississippi.
A history of the berimbau in Brazil, from the 1950s to the present, as it is used in bossa nova, samba-reggae, MPB (Brazilian popular music), electronic dance music, Brazilian art music, and other musical forms. This is an exemplary case study of musicultural tradition and transformation.
Gerard, Charley. 2001. Music from Cuba: Mongo Santamaría, Chocolate Armenteros and Other Stateside Cuban Musicians. Praeger.
Informative book on the Cuban-U.S. nexus in the development of Latin dance music, with interesting profiles of key musicians such as the percussionist Mongo Santamaría.
Gerard, Charley, and Marty Sheller. 1998. Salsa! The Rhythm of Latin Music. New edition. White Cliffs Media Company.
This book offers a fine introduction to salsa music and its historical and cultural development. It is an accessible and engaging read.
Hagedorn, Katherine J. 2001. Divine Utterances: The Performance of Afro-Cuban Santería. Smithsonian Institution Press.
Ethnomusicological monograph that explores the enduring cultural and spiritual power of traditional music of Afro-Cuban Santería (Regla de Ocha), as well as the transformation of that music for secular, folkloric performances. Includes a compact disk of illustrative musical examples.
Leymarie, Isabelle. 2004. Cuban Fire: The Story of Salsa and Latin Jazz. Continuum.
Explores Cuban music from its roots, through the “golden age” era of the 1940s and 1950s, to today. Examines both music in Cuba itself and the development of the music in the United States, Puerto Rico, and internationally.
Loza, Steven. 1999. Tito Puente and the Making of Latin Music. University of Illinois Press.
Definitive ethnomusicological biography of the master musician and Latino/American cultural icon. Loza’s earlier book, Barrio Rhythm: Mexican American Music in Los Angeles (Illinois, 1993), is also recommended.
Manuel, Peter (with Kenneth Bilby and Michael Largey). 1995. Caribbean Currents: Caribbean Music from Rumba to Reggae. Temple University Press.
This introductory text includes separate chapters on the histories and traditions of Cuba, Puerto Rico, the Dominican Republic, Haiti and the French Caribbean, Jamaica, Trinidad, and more (salsa, Latin rap, Indo-Caribbean music, etc.). Clearly written, accessible, and ethnomusicological in approach.
Moore, Robin. 1997. Nationalizing Blackness: Afrocubanismo and Artistic Revolution in Havana, 1920-1940. University of Pittsburgh Press.
Authoritative social history of Cuban music, arts, intellectual life, and cultural identity construction during a decisive historical period. A more recent book by Moore, Music and Revolution (University of California Press, 2006), examines music and the arts in Cuba since 1959.
Murphy, John P. 2006. Music in Brazil. Global Music Series. Oxford University Press.
Organized around themes of unity and diversity, this introductory text introduces a wide range of musical styles and genres from Brazil, including samba, bossa nova, tropicália, and MPB; regional traditional and popular music; Brazilian rock, rap, and electronica.
Perrone, Charles A., and Christopher Dunn (eds.). 2001. Brazilian Popular Music and Globalization. University Press of Florida.
This series of essays on popular music in Brazil grew out of a panel on Brazilian identity and globalization at the Brazilian Studies Association meeting in 1997. Several of the essays relate directly to chapter topics (e.g., tropicália).
Rondón, César Miguel. 2008. The Book of Salsa: A Chronicle of Urban Music from the Caribbean to New York City. University of North Carolina Press.
Focuses on the emergence of salsa as a pan-Caribbean phonemonen from Cuba, Puerto Rico, the Dominican Republic, Colombia, and Venezuela and its role as a musical movement in New York City. Covering the period from the 1950s through the 1970s, the study includes information on musical styles, production and marketing, performers and performances. Translated by Frances R. Aparicio with Jackie White.
Waxer, Lise (ed.). 2002. Situating Salsa: Global Markets and Local Meaning in Latin Popular Music. Routledge.
Collection of essays by a dozen leading scholars that examines salsa (and Latin popular music more broadly) as a global musicultural phenomenon and international musical commodity. Essays explore the music not just in Cuba, Puerto Rico, and New York, but also in South America (Colombia, Venezuela), Japan, and elsewhere.