Hist 387: Popular Music in Latin America

Full Syllabus (with paper assignments, course requirements, etc)

Class Schedule, Readings, Listening Assignments, Due Dates

1/22 Introduction: Transnational Music History

1/24 How to Read a Pop Song
Reading: Pacini Hernandez, 1-14; How to Read a Pop Song
Listening: Tito Puente, “Oye Como Va” (1963); Carlos Santana, “Oye Como Va” (1970)

Roots: The Afro-Atlantic
1/29 Atlantic Slavery: Cultural Survivals and Creolization

1/31 Transgressive National Dances
Reading: Chasteen, 1-32

2/5, 2/7 1900: Maxixe, Milonga, Danzón
Reading: Chasteeen, 33-88
Listening: Baiano, “Pelo Telefone” (samba composed by Donga, 1916); Orquesta Típica Criolla Vicente Greco, “Don Juan” (tango, 1910); Orquesta Felipe Valdés, “La machicha” (danzón, 1907)

2/12 Colonial Mixing
Reading: Chasteen, 91-113, 165-75, 189-97

2/14 The Nineteenth Century: Global Fads
Reading: Chasteen, 115-37
Listening: Georges Bizet, “Habanera” (from the opera, Carmen, 1875); Louis Moreau Gottschalk, “Bamboula: Danse des Negres” (1848)

2/19 The Nineteenth Century: Independence and National Rhythms
Reading: Chasteen, 139-63

2/21 Mestizaje and Official Nationalisms
Reading: Chasteen, 197-204; Gilberto Freyre, “Mestizo Pride” (excerpt from Big House and Slave Quarters, 1933)
Listening: Ciro Monteiro, “Falsa Baiana” (1944, composed by Gerardo Pereira – Brazil. Be sure to read the lyrics in English); Libertad Lamarque, “La morocha” (1939, originally composed in 1905 – Argentina); Miguelito Valdés, “Babalú” (original was 1937 – Cuba)

2/26 The Hidden Latin I: Jazz and “the Spanish Tinge”
Listening: Jelly Roll Morton, “New Orleans Blues” (composed circa 1905); W.C. Handy’s Orchestra, “St. Louis Blues” (1914); Orquesta Pablo Valenzuela, “La Patti Negra” (1906); Europe’s Society Orchestra (led by James Reese Europe), “Amapa” (1913)

Essay 1 due via email before class on 2/26

Paris, Exoticism and Folklore
2/28 The Parisian roots of Brazil’s National Identity
Reading: Lisa Shaw, “Afro-Brazilian popular culture in Paris in 1922: Transatlantic dialogues and the racialized performance of Brazilian national identity,” Atlantic Studies 8:4 (2011), 393-409
Listening: Oito Batutas, “Urubu” (1922); Carmen Miranda, “O que é que a baiana tem” (1939)

3/5, 3/7 Paris, Chile and the Nueva Canción
Reading: Fernando Rios, “La Flûte Indienne: The Early History of Andean Folkloric-Popular Music in France and its Impact on Nueva Canción,” Latin American Music Review 29:2 (2008), 145-189.
Listening: Los Hermanos Ábalos, “Carnavalito Quebradeño”; Los Incas, “El Humahuaqueño”; Violeta Parra, “Gracias a la vida” (1966); Simon & Garfunkel, “El Condor Pasa” (1970)

Listening Quiz in class on 3/7

[Spring Break]

The Rock and Roll Era
3/19 Latin (Mainly Cuban) Music in America I
Reading: Gustavo Pérez Firmat, “Latunes: An Introduction,” Latin American Research Review 43:2 (2008), 180-203
Viewing: Xavier Cugat, “Jungle Rhumba” (from 1949 film Neptune’s Daughter); Carmen Miranda, “Mamãe Eu Quero” (from 1940 film Down Argentine Way); Carmen Miranda, “The Lady in the Tutti Frutti Hat” (from 1943 film The Gang’s All Here); I Love Lucy, “Be a Pal” (1951)

3/26 Latin Music in America II
Reading: Pacini Hernandez, 15-33
Listening: Arsenio Rodríguez, “El reloj de Pastora” (1946); Dámaso Pérez Prado, “Mambo No. 5” (1949); Tito Puente, “Ran Kan Kan” (1949)

3/28 The Hidden Latin II: The Latin in Rock and Roll
Listening: Dave Bartholomew, “Country Boy” (1949); Ray Charles, “Heartbreaker” (1953); Professor Longhair, “Tipitina” (1953); Little Richard, “Slippin’ and Slidin’” (1956); Big Mama Thornton, “Hound Dog” (1952); Elvis Presley, “Hound Dog” (1956); Bo Diddley, “Bo Diddley” (1955)

Essay 2 due via email by 8:00PM on 3/26

4/2 “To Rock or Not to Rock”: Chicano L.A. vs Puerto Rican N.Y.
Reading: Pacini Hernández, 34-53
Listening: Cannibal and the Headhunters, “Land of 1000 Dances” (1965); Joe Cuba, “Bang Bang” (1966); Fania Records, Our Latin Thing (1972) [watch first 10 mins]

Countercultures
4/4 Rock and Roll in Mexico
Reading: Eric Zolov, “La Onda Chicana: Mexico’s Forgotten Rock Counterculture,” in Pacini Hernandez, et al, eds., Rockin’ Las Américas: The Global Politics of Rock in Latin/o Americas (Pittsburgh, 2004), 22-42.
Listening: Little Richard, “Good Golly Miss Molly” (1958); Los Teen Tops, “La Plaga” (1960); Peace and Love, “We Got the Power” (1971)

4/9 Brazil: from Bossa Nova to Tropicália
Reading: Caetano Veloso, Tropical Truth, 3-51
Listening: João Gilberto, “Desafinado” (1959); Maysa, “Caminhos cruzados” (1958); João Gilberto, “Caminhos cruzados” (1976); Caetano Veloso, “Tropicalia” (1968)

4/11 Soul and Race in Rio
Reading: Bryan McCann, “Black Pau: Uncovering the History of Brazilian Soul,” Journal of Popular Music Studies 14 (2002), 33-62.
Listening: Jorge Ben, “Charles, Anjo 45” (1969); Tim Maia, “Réu Confesso” (1973); Toni Tornado, “Sou Negro” (1972)

New Latino Grooves
4/16, 4/18 Argentina, MTV, and Rock Latino
Reading: Matthew Karush, “The Music of Globalization: Gustavo Santaolalla and the Production of Rock Latino,” in Musicians in Transit: Argentina and the Globalization of Popular Music (Durham: Duke University Press, 2017), 179-215.
Listening: See links here. Pay special attention to: The Plugz, “El clavo y la cruz” (1981); Maldita Vecindad, “Pachuco” (1991); Bersuit Vergarabat, “Yo tomo” (1998)

4/23 From Disco to Hip Hop
Reading: Pacini Hernandez, 54-76
Listening: Gil Scott-Heron, “The Bottle” (1974); Joe Bataan, “La Botella” (1975); Salsoul Orchestra, “Salsoul Hustle” (1975); N.O.R.E., “Oye Mi Canto” (2004)

 Essay 3 due via email before class on 4/23

4/25 From Merengue to Reggaeton
Reading: Pacini Hernandez, 77-105
Listening: Wilfrido Vargas, “Abusadora” (merengue, 1981); Raulín Rodríguez, “Nereyda” (bachata, 1994); Kinito Méndez, “Suero de Amor” (merengue/palo, 1999)

4/30 Cumbia’s Travels
Reading: Pacini Hernandez, 106-141
Listening: traditional cumbia from Colombia (music begins at 0:35); Los Corraleros de Majagual, “Los Sabanales” [Colombia]; La suerte sonidera mix [DJ Negro, Mexico]; Damas Gratis, “Sufre cheto” [Argentina]

5/2 Final Exam Review

5/9 Final Exam (10:30-1:15)

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