Descripciones mejoradas de Syndetics:

Portrays the complex politics of gender, sex, class, and race in Puerto Rican salsa music.

Tabla de contenidos provista por Syndetics

• List of Illustrations
• Preface
• Part I The Danza and the Plena: Racializing Women, Feminizing Music
• A Literary Prelude
• A White Lady Called the Danza
• A Sensual Mulatta Called the Plena
• Desiring the Racial Other: Rosario Ferre's Feminist
• Reconstructions of Danza and Plena
• Part II The Plural Sites of Salsa
• A Postmodern Preface
• Situating Salsa
• Ideological Negotiations: Between Hegemony and Resistance
• Cultural (Mis)Translations and Crossover Nightmares
• Part III Dissonant Melodies: Singing Gender, Desire, and Conflict
• Theoretical Pretexts: Listening (as) Woman
• Woman as Absence: Hetero(homo)sexual Desire in the Bolero
• Patriarchal Synecdoches: Of Women's Butts and Feminist Rebuttals
• Singing the Gender Wars
• Singing Female Subjectivities
• Part IV Asi Somos, Asi Son: Rewriting Salsa
• Listening to the Listeners: An Introduction
• Asi Son: Construction Woman
• Asi Somos: Rewriting Patriarchy
• Afterword
• Notes
• Index of Songs and Recordings
• General Index

Reseñas proporcionadas por Syndetics

Library Journal Review

Two new books on popular music present contrasting approaches to the diverse world of Hispanic music. Aparicio's (Spanish and American culture, Univ. of Michigan) work, aimed at an academic audience, deals with salsa and Puerto Rican culture in a feminist context. McGowan, targeting a general audience, presents a comprehensive history of popular music in Brazil. Aparicio analyzes salsa, boleros, and other popular musical forms in terms of cultural issues (race, gender, class), drawing on her own experiences, and those of typical listeners, to explore these issues. Readers may find their views on salsa altered by reading this book. A recommended choice for academic Hispanic studies collections and for music collections with a strong Hispanic emphasis. McGowan and Pessanha here update their original edition (Billboard Bks., 1991), bringing their extensive experience writing on Brazilian popular music for Billboard and other magazines to this extensive survey covering local jazz and rock as well as better-known forms. The accessible writing style and lavish use of illustrations help achieve the authors' goal of inspiring interest in this music. Updates cover recent music and musicians, provide more social analysis, and expand the discography to 1000 titles, adding much to the original edition. The best work on the topic, this is recommended for both academic and public library music collections.‘James E. Ross, WLN, Seattle (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

CHOICE Review

In this postmodern treatment of salsa music, Aparicio (Spanish and American culture, Univ. of Michigan) covers such issues as the construction of women and the gendering of music within a patriarchal discursive tradition of Puerto Rican literature; the politics of music production; and aspects of ownership and authenticity, an especially difficult issue for this transnational genre. The author sketches the history of the genre throughout the book. Aparicio provides little discussion of the actual music and seldom encourages the reader to listen to salsa, though she analyzes lyrics throughout. Her most original contribution is in the final section, where she discusses audience reception through the analysis of interviews with Latinas/os living in Ann Arbor, Michigan. Musicologists seldom take this tack, instead giving primacy to composers and performers. Little has been written on salsa, and this timely, interdisciplinary contribution will be useful not only to musicians but also to upper-division undergraduates through faculty interested in popular culture, women's studies, and Latin American studies. J. Bosse; Illinois State University