Humboldt-Universität zu Berlin - Musikwissenschaft

More publications

monographs and edited volumes:

  • FOCUS: Music of the Caribbean (Routledge, forthcoming).
  • Rhythm and Power: Performing salsa in Puerto Rican and Latino communities. (CENTRO Press, 2017). Co-editor of volume with Derrick León Washington and Priscilla Renta.
  • “Of lechones and liminality: Performing politics in a Dominican carnival.” In progress. For The Anthropology of Performance, Jonathan Marion and Lauren Griffith, eds. New York: Routledge.
  • “On social dancing and social movements: Salsa and resistance.” 2017. In Rhythm and power: Performing salsa in Latino communities, eds. Derrick León Washington, Priscilla Renta, and Sydney Hutchinson. New York: CENTRO Press.
  • “Una propuesta transgenérica de la música de Rita Indiana: El potencial transformador de sus canciones y videoclips, y el compromiso de leer/escuchar ‘entre líneas/pa’l la’o’.” 2017. In Rita Indiana: Archivos, ed. Fernanda Bustamante E. Santo Domingo – Berlin: Cielo Naranja, pp. 351-385. Translated by Darío Zalgade and Fernanda Bustamante.
  • “Merengue on the move: Making music, place, and community in the típico world.” 2016. In Made in Latin America: Studies in Popular Music, eds. Christian Spencer and Julio Mendívil. New York: Routledge, pp. 113-124.
  • “Santiago de los Caballeros, Dominican Republic.” 2015. In The Ethnomusicologists’ Cookbook, vol. II. New York: Routledge, pp. 102-106, ed. Sean Williams.
  • “Outsider, insider, and imagined tourists: Some notes on musical and cultural tourism in the Dominican Republic.” 2014. In Sun, Sea, and Sound: Reflections on Music and Tousism in the Circum-Caribbean, eds. Daniel Neely and Timothy Rommen, pp. 151-178.
  • “Dancing in place: An introduction” and “What’s in a number? From local nostalgia to global marketability in New York salsa.” 2013. In Salsa World, ed. Sydney Hutchinson. Philadelphia: Temple University Press, pp. 1-25, 26-45.
  • No ma’ se oye el fuinfuán: The noisy accordion in the Dominican Republic.” 2012. In The Accordion in the Americas – Klezmer, Polka, Tango, Zydeco and More! ed. Helena Simonett. Urbana: University of Illinois Press, pp. 249-267.
  • “Becoming the tíguera: Female accordionists in Dominican merengue típico.” 2012. Reprinted in the world of music: Readings in ethnomusicology. Max Peter Baumann, ed. Berlin: Verlag fürWissenschaft und Bildung, pp. 531-550.
  • “Breaking borders / quebrando fronteras: Dancing in the borderscape.” 2011. In Transnational Encounters. Music and Performance at the U.S.-Mexico Border, ed. Alejandro Madrid. Oxford University Press.
  • “Places of the body: Corporeal displacement, misplacement, and replacement in music and dance research.” 2010. In Music and displacement: Diasporas, mobilities, and dislocations, eds. Erik Levi and Florian Scheding. Scarecrow Press, pp. 155-180.
  • “The Ballet Folklórico de México and the construction of the Mexican nation through dance.” 2009. In Dancing across borders: Danzas y bailes mexicanos, eds. Olga Nájera-Ramírez, Brenda Romero, and Norma Cantú. Urbana: University of Illinois Press, 206-225.


peer-review articles:

  • “Putting some air on their chests: Movement and masculinity in competitive air guitar.” 2014. World of music (new series) 3(2):79-103.
  • “A limp with rhythm: Convergent choreographies in Black Atlantic time.” 2012. Yearbook for Traditional Music 44:87-108.
  • Típico, folklórico, or popular? Musical categories, place, and identity in a transnational listening community.” 2011. Popular Music 30(2):245-262.
  • “Introduction,” Special Issue, “Latin American Dance in Transnational Contexts.” 2009. Journal of American Folklore 122(486).
  • “Becoming the tíguera: Female accordionists in Dominican merengue típico.” 2008. World of Music, 50(3): 37-56.
  • “Merengue típico: Transnational regionalism and class transformations in a neotraditional Dominican music.” 2006. Ethnomusicology 50(1):37-72.
  • “Danced politics and quebradita aesthetics.” 2006. e-misférica ( vol. 3.2.
  • “Mambo on 2: The birth of a new form of dance in New York City.” 2004. CENTRO Journal 16(2):109-137.
  • “Confessions of a public sector ethnomusicologist.” 2003. Folklore Forum 34:1-9.


reference works:

  • “Modern and popular dances in Hispanic Latin America and the Caribbean.” 2012. Gale World Scholar—Latin America & the Caribbean, ed. Erick Langer. Cengage Learning.
  • “Merengue,” “Bachata,” “Quebradita,” “Dominican American Music,” “Juan Luis Guerra,” “Wilfrido Vargas, “Milly Quezada,” and “Johnny Ventura.” 2013. Grove Dictionary of American Music, Charles Garrett and Alejandro Madrid, eds.
  • “Merengue” (pp.538-541), “Quebradita” (651-654), “Narcocorridos” (579-582), “Bandas” (57-60). 2004. In Encyclopedia of Latino Popular Culture, Cordelia Chávez-Candelaria et al, eds. Westport, Conn.: Greenwood Publishers. (Irrelevant lines on Fulanito added by editors without author’s permission.)
  • “Music and dance of Mexican Americans in the Pacific states.” 2004. In Pacific Regional Cultures. Westport, Conn.: Greenwood Publishers.
  • “Folklore.” 2003. In Peoples of North America, Dennis Cove, ed. London: Brown Partworks, Ltd.