Call for Reviews: Crolar Vol. 4(2): "Sound and dissonance: music in Latin­ American culture"



The development of interdisciplinary studies and the growing popularity of theories that encourage a departure from the Western logocentric paradigm (such as decoloniality and affect theory) have put forward works that attempt to think the aural world from new perspectives. Sounds, combined with lyrics and other realities, are now revalued as constitutive and determining of the being.

This academic trend develops concurrently with the advance of technological sounds that define our lives today: from background music in every shared space (cafes, stores, airports) to ringtones, sound notifications and pop­ups. Protest songs, film soundtracks, and the new ways in which we share and listen to online music, among many others, reveal alternate ways of creating communities


From Salsa in the Caribbean, Carnival in Brazil, or Tango in Argentina, to mention only a few examples, music has always been considered as something inherently “Latin­ American,” creating stereotypes that are sometimes hard to overcome. But what does music really mean to Latin America? How can we reconcile cheerful and catchy rhythms with protest songs? How can we think of the objectification of these dancing bodies –as desired objects­ with its possibilities as struggling and resisting subjects?

Moreover, sounds have been integrated into Literature and the Arts in innovative ways, infusing them with a new musicality. Sufficient would be to recall the beginning of the acclaimed film The Milk of Sorrow, in which mother and daughter start singing a story in Quechua, in a dialogue that is so movingly musical. The proliferation of novels that include non­hegemonic languages, as well as films that have become inseparable from their soundtrack, and texts that are based in their silences, are just but a few examples of how the aural helps communicating new levels of meaning.


We are in the search of recent publications reviews that illustrate these phenomena, as well as new perspectives on classic books which have opened up the field. Reviews of relevant literary and artistic pieces are also welcomed, including films, soundtracks, art installations, prose, poetry, and theatre.

Some of the suggested topics include: sound studies; music as a form of protest and cultural identity; musical transculturation in Latin America; the construction of the popular through music; the analysis of sound (and silence) in literature; other forms of sound: whispers, noises, and buzzes; pop cybernetic culture: blogs, streaming, and YouTube; soundtracks in cinema, theatre, and opera; noise pollution; and formatting issues: mp3, cd, cassette, and vinyl.

Reviews should be submitted before March 1st, 2015. They can be written in Spanish, English, Portuguese, or German. Ideally, the review should be in a different language than the reviewed publication or project. The formal requirements for the reviews can be found at

We are looking forward to reading from you! If you are interested in writing a review or have any other suggestions or questions please contact the editors of the volume: Denise    Kripper    (dk425[a]    and    Candela    Marini (candela.marini[a]



Bibliografía sugerida:


Acosta Cruz, María. Dream Nation: Puerto Rican Culture and the Fictions of Independence. New York & London: Routledge, 2014.


Aldama, Frederick Luis, ed. Latinos and Narrative Media: Participation and Portrayal. New York: Palgrave Macmillan, 2013.


Alonso, Sergio. Historia de las bandas de música de Villa María. Villa María, Argentina: Eduvim, 2012.


Carreño Bolivar, Rubí. Av. Independencia: Literatura, música e ideas de Chile disidente. Santiago: Cuarto Propio, 2013.


Cepeda Sánchez, Hernando. Imaginarios sociales, política y resistencia: culturas juveniles de la música ‘rock’ en Argentina y Colombia de 1966 hasta 1986. Bogotá, D.C.:Editorial Universidad del Rosario, 2012.


González Rodríguez, Juan Pablo. Pensar la música desde América Latina. Buenos Aires, Argentina: Gourmet Musical Ediciones, 2013.


Gutierrez, Raquel. Rhythms of the Pachakuti: Indigenous Uprising and State Power in Bolivia. Durham: Duke Press, Forthcoming (November 2014).


Markarian, Vania. El 68 uruguayo: el movimiento estudiantil entre molotovs y música beat. Bernal: Universidad Nacional de Quilmes Editorial, 2012.


Ochoa, Ana María. Aurality: Listening and Knowledge in Nineteenth­Century Colombia. Durham: Duke Press, Forthcoming (November 2014).


Palacios Mateos, Fernando. El andarele en la música tradicional afroesmeraldeña, Ecuador. Quito, Ecuador: Ediciones Abya­Yala, 2013.


Pardo Rojas, Mauricio ed. Música y sociedad en Colombia: traslaciones, legitimaciones e identificaciones.Bogotá, D.C.: Editorial Universidad del Rosario, 2012.


Quintana Martínez, Alejandra y Carmen Millán de Benavides, ed. Mujeres en la música en Colombia: el género de los géneros. Bogotá, DC: Editorial Pontificia Universidad Javeriana, 2012.


Rocha Iturbide, Manuel. El eco está en todas partes. México: Alias, 2013.


Sánchez Fuarros, Iñigo. Cubaneando en Barcelona: música, migración y experiencia cubana. Madrid: Consejo Superior de Investigaciones Científicas, 2012. Thompson, Krista,


Shine: The Visual Economy of Light in African Diasporic Aesthetic Practice, Durham: Duke University Press, 2014.


Vigil, Cipriano. New Mexican folk music: treasures of a people. Albuquerque: University of New Mexico Press, 2014.


Wong, Ketty. Whose national music?: identity, mestizaje, and migration in Ecuador. Philadelphia: Temple University Press, 2012.




Posted: 2014-09-05
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