At Columbia University, Ana Mara Ochoa Gautier
At Columbia University, Ana Mara Ochoa Gautier teaches music. She has held positions as director of Music Archives in Colombia and researcher at the Institute of Anthropology and History in the past. Her research mostly focuses on the traditional music and culture of Latin America. Ana is not only an associate professor at Columbia University; she also serves as the center’s director. Gautier is a reliable source because of all of his engagements and background in Latin American music. In this particular article, Gautier explores the disconnection between the notion of the care of the self-invoked by using the performativity of culture as the foundation of the resource paradigm. It also includes the actual practices of artists in promoting occupations that require investment, time, and other resources to sustain music such as Cumbia in Colombia. The article is an online source, retrieved from JSTOR database and adequately explores Cumbia as one of the music genres in Colombia.
Fernández, Hector H., and Pablo Vila
Fernández, Hector H., and Pablo Vila. “Cumbia music in Colombia: Origins, transformations, and evolution of a Coastal music genre.” Cumbia!: Scenes of a migrant Latin American music genre, 1st ed., Duke University Press, May 2013, pp. 29-48.
Fernandez Hector is a professor of Latin American Cultural Studies at Georgia State University. Conversely, Pablo Vila is a professor at Temple University, in the department of sociology. The authors have written different books in the field of Latin American studies. Therefore based on the authors’ background in Latin American Cultural Studies, they are credible sources. In the first chapter of the book, the authors illustrate the migration of Cumbia music from its origins. They identify Cumbia as a worldwide symbol of Colombia and try to determine its function as an indication of socio-cultural individualities in the entire Latin America. Therefore, in this chapter, the authors demonstrate Cumbia’s popularity in the Americas associated with its stylistic flexibility. The article is a print source retrieved from the eBook Index database.
Ochoa, Juan S.
Ochoa, Juan S. “The Cumbia in Colombia: An invention of a tradition.” Revista musical chilena, vol. 70, no. 226, 7 July 2016, pp. 31-52, CINAHL Plus text. doi:10.4067\/s0716-27902016000200002.
Juan Sebastian Ochoa is an affiliate of Universidad de Antioquia. With interest in music, the author has conducted various studies related to music and the Latin America culture, therefore, he is a good source. This particular article is an online source that was retrieved from CINAHL Plus text database. The author explores the meaning and origin of Cumbia music. According to Sebastian, there are contradictory and different uses given to the term Cumbia. The author also explores the origin and evolution of Cumbia in Colombia. The article also reveals correspondences and incongruences with experimental evidence derived from the past musical analysis. Largely, the paper is well driven as it provides a good foundation point for understanding Cumbia music in Colombia. Sebastian also tries to acknowledge the impact of culture and diversity in relation to Cumbia in Colombia.
Favoretto, Mara
Favoretto, Mara. “Tango and Cumbia Villera: Origins, encounters, and tensions.” Studies in Latin American Popular Culture, vol. 34, 1 Jan. 2016, pp. 78-95, Academic OneFile. doi:10.7560\/slapc3404.
Dr. Favoretto is a senior lecturer at the University of Melbourne. She lecturers in the Department of Latin American Studies. She is a credible source because she specifies in current culture and widespread music lyrics particularly as regards cultural crisis. Furthermore, she has written multiple journal articles and book chapters in the field of Latin American studies. The online journal article retrieved from the Academic OneFile database is a useful source for understanding the origins of Cumbia Music and its migration into other countries in Latin America. Cumbia originated from Colombia as a music genre associated with Afro-Caribbean cultures. It later transformed into a national music genre. Later on, Cumbia music migrated into other Latin American Countries such as Argentina, Peru, and Mexico. Also, the article traces the evolution of Cumbia into different genres such as Cumbia villlera and Cumbia santafesina.
Campos, Cynthia M.
Campos, Cynthia M. “Focusing on Youth in the Americas.” Latin American Research Review, vol. 51, no. 1, 1 Jan. 2016, pp. 281-291, Academic OneFile. doi:10.1353\/lar.2016.0008.
Dr. Cynthia Machado Campos is affiliated with the University of Essex, England. She is currently a visiting research associate at King’s College London. She specializes in history particularly as it relates to the Latin American culture, making her a reliable source. In this peer-reviewed article, Campos presents a discussion on the youth in the Americas and their interaction with popular music genres such as Cumbia. She presents Cumbia music as a form of identity for the youth, especially the women. Cumbia lyrics has been a mode by which women have flourished in defining their own sexual independence. The music genre and dance challenge the cultural norms about feminine and masculine roles by illustrating that the relationship between men and women is neither equal nor eternal, but instead, demonstrates an imbalance of power. The article is an online journal retrieved from the Academic OneFile database.
Toro, Mario G., and Marc Nasdor
Toro, Mario G., and Marc Nasdor. “Mario Galeano Toro.” BOMB, The Americas Issue: Colombia and Venezuela, no. 110, Jan. 2010, pp. 88-95, www.jstor.org\/stable\/23041534.
Mario Galeano Toro is the head of a music band in Bogota. He is well versed in the history of Cumbia in Colombia from its Afro-Caribbean roots to its current electronic exhibitions. Marc Nasdor, on the other hand, is an author and a poet. He has previously worked as a co-director of the global arts organizations Committee for International Poetry. This article is a discussion of how Cumbia came to existence and manifested across Latin America. Given his experiences and knowledge of Cumbia music, Toro explains the components that make up Cumbia. The authors also explore how Cumbia has been fused with other cultures and what it is associated with. Largely, this is a credible online source, retrieved from JSTOR database.
Vila, Pablo, et al.
Vila, Pablo, et al. Troubling gender: Youth and cumbia in Argentina’s music scene. Temple University Press, July 2011.
Pablo Vila is a professor at Temple University, in the department of sociology while Pablo Semán and Maria Carozzi are researchers at CONICET. Seman specifies in popular music, culture, religious customs and the analysis of literature. Eloisa Martín is an assistant professor at Rio de Janeiro in the Department of Sociology while Carozzi is a tenured professor at the National University of San Martin in the Department of Anthropology. Based on the authors’ academic backgrounds, they are trusted and reliable sources. The print source retrieved from the Harvard Library Bibliographic Dataset presents a scrutiny of the Cumbia music lyrics, artists, and dancers. The authors explore the manner in which men idealize and appropriate Cumbia lyrics, as well as how women construct, appropriate and analytically maneuver the misogynistic lyrics.
Santamaria, Carolina
Santamaria, Carolina. “Music ImagiNation: U.S.-Colombian Identity and the Latin Music Boom.” Latin American Music Review, vol. 34, no. 1, Spring 2013, pp. 111-113, JSTOR. www.jstor.o rg\/stable\/43282543.
Carolina Santamaria is an affiliate of Pontificia Universidad Javeriana and serves in the Department of Music. She has conducted various research related to music in Latin America. This article is a review of Latin America music scenes with an emphasis on Colombia. According to the author, the Colombia music environment has undergone a major transformation in the past two decades. For instance, the music industry that existed in the late 1940s was characterized by a highly segmented domestic market. However, a new generation of pop and rock musicians has come into the limelight in the past twenty years. Unlike the previous generation, the current group of musicians has an audience far beyond the domestic boundaries. This article by Santamaria is an online source that was retrieved from JSTOR database.
Fairley, Jan
Fairley, Jan. “The song-lines guides.” Living politics, making music: The writings of Jan Fairley, edited by Simon Frith, Ian Christie, and Stan Rijven, Routledge, May 2016, pp. 91-110.
As a professor of Music at the University of Edinburgh and a founding affiliate of IASPM as well as a founding editor of Popular Music, Frith is a credible source. Conversely, Christie is a professor of Film and Media History at Birbeck College. Both authors are affiliates of the British Academy. Stan is a cultural entrepreneur and a Dutch Pop Music critic and historian. Fairley was an ethnomusicologist, lecturer and a writer in Latin American studies making her a trusted source. The print article presents an illustration of different genres of global music. The book encompasses a richly informed guide for students who have an interest in popular music as a world phenomenon. The specific chapter on “the song-lines guides” presents a discussion on Cumbia music illustrating its origin and migration into the Americas. It also gives an insight into the Cumbia Musicians who contributed to the migration of Cumbia from Colombia, for instance, Bermudez among other artists. The article was retrieved from the EBSCO database.
Harper, Adam
Harper, Adam. “How internet music is frying your brain.” Popular Music, vol. 36, no. 01, 13 Dec. 2016, pp. 86-97, City Research Online. doi:10.1017\/s0261143016000696.
Adam Harper is a musicologist and lecturer of music at City, University of London. He is also a music critic focusing on ancient and modern concepts surrounding progressive music of the 20th and the 21st centuries and their technology platform. He has written a book and conducted various research regarding music. Harper has also taught on a variety of methods of learning music and its history. The article is a discussion of the effects of digital technology on culture, for instance, Cumbia music. The author concludes that it is not yet clear whether technology contributes to deterioration in musical culture. This article is important because it helps in providing an insight on the impact of digital technology on Cumbia music in Colombia. Finally, the article is an electronic source that was retrieved from the City Research Online database.
Works Cited
Campos, Cynthia M. “Focusing on Youth in the Americas.” Latin American Research Review, vol. 51, no. 1, 1 Jan. 2016, pp. 281-291, Academic OneFile. doi:10.1353/lar.2016.0008.
Fairley, Jan. “The songlines guides.” Living politics, making music: The writings of Jan Fairley, edited by Simon Frith, Ian Christie, and Stan Rijven, Routledge, 2016, pp. 91-110.
Favoretto, Mara. “Tango and Cumbia Villera: Origins, encounters, and tensions.” Studies in Latin American Popular Culture, vol. 34, 1 Jan. 2016, pp. 78-95, Academic OneFile. doi:10.7560/slapc3404.
Fernández, Hector H., and Pablo Vila. “Cumbia music in Colombia: Origins, transformations, and evolution of a Coastal music genre.” Cumbia!: Scenes of a migrant Latin American music genre, 1st ed., Duke University Press, 2013, pp. 29-48.
Gautier, Ana M. “Disencounters between music’s Allure and the expediency of culture in Colombia.” Latin American Research Review, vol. 48, no. S, 12 Sept. 2013, pp. 12-29, JSTOR. doi:10.1353/lar.2013.0054.
Harper, Adam. “How internet music is frying your brain.” Popular Music, vol. 36, no. 01, 13 Dec. 2016, pp. 86-97, City Research Online. doi:10.1017/s0261143016000696.
Ochoa, Juan S. “The Cumbia in Colombia: An invention of a tradition.” Revista musical chilena, vol. 70, no. 226, 7 July 2016, pp. 31-52, CINAHL Plus text. doi:10.4067/s0716-27902016000200002.
Santamaria, Carolina. “Music ImagiNation: U.S.-Colombian Identity and the Latin Music Boom.” Latin American Music Review, vol. 34, no. 1, Spring 2013, pp. 111-113, JSTOR. www.jstor.o rg/stable/43282543.
Toro, Mario G., and Marc Nasdor. “Mario Galeano Toro.” BOMB, The Americas Issue: Colombia and Venezuela, no. 110, Jan. 2010, pp. 88-95, JSTOR. www.jstor.org/stable/23041534.
Vila, Pablo, et al. Troubling gender: Youth and cumbia in Argentina’s music scene. Temple University Press, 2011.
