Humboldt-Universität zu Berlin - Musikwissenschaft

More publications

 

book chapters:

  • "On carnivals and capitalism: Performing neoliberal politics in a Dominican carnival." The Routledge Companion to the Anthropology of Performance, Lauren Griffith and David Syring, eds. New York: Routledge.
  • "Ghost transnationalisms, or how buried transborder histories are embodied in music and dance (with examples from the Dominican Republic and the United States)." Invited and submitted. Transnational Humans and Transnationalism in the Humanities: Crossing Boundaries in the Americas, eds. Max Paul Friedman, Stefan Rinke, and Nuria Vilanova.
  • Commentary on "Aspekte zum Problem der musikologischen Ethnographie" by Max Peter Baumann. Forthcoming. Umfang, Methode und Ziel. Eine kommentierte Edition von Konzeptionen der Musikwissenschaft [Scope, method and objective. An edition of musicological conceptions with commentaries], vol. 2, ed. Melanie Wald-Fuhrmann.
  • “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 (http://hemisphericinstitute.org/journal/) 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.