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Elite Art Worlds tells the story of the Centro Latinoamericano de Altos Estudios Musicales (CLAEM) in Buenos Aires, the epicenter of Latin American avant-garde music in the 1960s. Looking at CLAEM as both an artistic and philanthropic project connecting Argentina and the United States, author Eduardo Herrera traces transnational webs of financial and aesthetic influence during the Cold War.

This groundbreaking book offers the first detailed analysis of the textual, liturgical, and musical aspects of the vespertinus, the chant genre most central to the Christian practices that shaped the religious and cultural landscape of medieval Iberia.

In this book, author Sean Bellaviti offers an insightful new look at how music plays in the formation of national identity by providing a social history and ethnographic account of Panama's most widely embraced musical form: popular cumbia or, as it is more commonly referred to, musica tipica.

A Sweet Penance of Music offers a comprehensive view of music and musicians in 18th century Santiago de Chile, drawing from historical documents and musical scores to bring to life music's significance in settings ranging from cathedrals to public celebrations.

Panpipes and Ponchos offers the first detailed historical study of the Bolivian folkloric music movement, showing how musical practices developed by the politically dominant, nonindigenous residents of twentieth-century La Paz city came to be misrepresented as pre-Columbian, indigenous folk music.

In Africanness in Action, author Juan Diego Diaz examines musicians' agency, constructions of blackness and Africanness, musical structure, performance practices, and rhetoric in Brazil, and provides a model for the study of African-derived music in other diasporic locales.

Inventing the Recording focuses on the decades in which recorded sound went from a technological possibility to a commercial and cultural artefact, through the analysis of a specific and unique national context: Spain.

In Inca Music Reimagined, author Vera Wolkowicz argues that Peruvian, Ecuadorian, and Argentine composers in the early twentieth century consciously featured indigenous signifiers in their operas in order to produce a self-consciously Latin American art.