How class divisions shape the definition of Ecuador's national music and identity

English with excerpts in Spanish and French.

Whose Music? combines historical, musicological, and sociological materials and styles of analysis in ways that connect to the field of sociology. The analyses of social class systems presented here speak in translatable ways to analyses of musical forms. Not only that, both are connected to an understanding of the organizations through which works are distributed to their audiences. Perhaps most importantly for the contemporary reader, this book depicts the part of the process by which dominant class groups justify their domination--cultural and otherwise.

Willman looks at the way country music's increasing popularity and conservative drift parallel the transformation of the Democratic South into the heart of the Republican mainstream.

Delight in the cultural aspects of Latin America by observing the objects that give life to history Latin American Cultural Objects and Episodes provides readers with an eclectic and fascinating exploration of Latin American history through the examination of physical objects. Distinguished author and Professor William H. Beezley takes readers on a journey that includes objects used music and visual media, such as movies, documentaries, and television. Forming an integral part of the history they represent, the objects described in this book tell the tale of the little known or neglected part of Latin American history. While most historical authors and researchers focus on the political and economic life of Latin America, this author uses the objects he highlights to explain and illuminate the daily lives of the Latin American peoples and the legacies that they share. Forming an essential part of a comprehensive understanding of Latin American history, the book includes discussions and explorations of: How objects have transformed and shaped the cultures of Latin America over the years Unusual and interesting objects serendipitously discovered by a variety of researchers and historians Ten chapters, each beginning with an object acting as a synecdoche or metonym that introduces a discussion of Latin American historical life The significance of the objects to particular religious practices, musical traditions, or schools of visual media, such as folk art, film or television Perfect for anyone interested in Latin American life beyond politics and economics, Latin American Cultural Objects and Episodes belongs on the bookshelves of everyone with a curiosity about culture in Latin America as it's revealed through physical objects.

The importance of nineteenth-century writing about culture has long been accepted by scholars, yet so far as music criticism is concerned, Victorian England has been an area of scholarly neglect. This state of affairs is all the more surprising given that the quantity of such criticism in the Victorian and Edwardian press was vast, much of it displaying a richness and diversity of critical perspectives. Through the study of music criticism from several key newspapers and journals (specifically The Times, Daily Telegraph, Athenaeum and The Musical Times), this book examines the reception history of new English music in the period surveyed and assesses its cultural, social and political, importance. Music critics projected and promoted English composers to create a national music of which England could be proud. J A Fuller Maitland, critic on The Times, described music journalists as 'watchmen on the walls of music', and Meirion Hughes extends this metaphor to explore their crucial role in building and safeguarding what came to be known as the English Musical Renaissance. Part One of the book looks at the critics in the context of the publications for which they worked, while Part Two focuses on the relationship between the watchmen-critics and three composers: Arthur Sullivan, Hubert Parry and Edward Elgar. Hughes argues that the English Musical Renaissance was ultimately a success thanks largely to the work of the critics. In so doing, he provides a major re-evaluation of the impact of journalism on British music history.