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19th century migration from Europe was the other side of the picture from nation building and the rise of nationalism. Between 1870 and 1930, the age of mass migration, about twenty million people left Italy, a quarter of them for South America. During this era, Italian music and Italian musicians, already present in South America since the mid-16th century, became important and outstanding actors in musical culture all over the subcontinent. They brought along with them their folkloric and popular music and dance repertoires, customs and genres, transforming and developing them in their new habitats. In the present volume, musicologists and literature scholars from both Europe and America shed light on different forms of interrelations between Italian migration and urban musical culture in Latin America, from the 16th century through the age of mass migration up until the present day, from Tarantella through Tango to Chilean Pop.

NEGOCIOS MUSICALES. ¿SE PUEDE VIVIR DEL ARTE EN PERÚ? TOMO II; PÁGINA LEGAL; CONTENIDO; PRESENTACIÓN; INTRODUCCIÓN; TERCERA PARTE. OTROS QUEHACERES MUSICALES (...); CAPÍTULO 15. SERVICIOS COMO NEGOCIO MUSICAL; 15.1 RENZO LECCA Y LA MISIÓN DEL DISK-JOCKEY (...); 15.2 ANDRÉS CUADROS, SONIDO, ENERGÍA E (...); 15.3 GERMÁN VILLACORTA, PRODUCTOR MUSICAL (...); CAPÍTULO 16. LOS EDUCADORES DE LA MÚSICA; 16.1 KIKE YOMPIÁN, MÚSICO CLINICISTA DEDICADO (...); 16.2 DANIEL RAVELO, UN PROFESOR DE MÚSICA (...); 16.3 CAROLINA ARAOZ, DEL JAZZ A LA ENSEÑANZA (...); CAPÍTULO 17. LA RADIO EN LA INDUSTRIA MUSICAL.

The book provides an innovative look at the relationship between music and the social. It traces the presence of music in the world of politics, identity politics, cultural heritage and art and literature. The book establishes music as a key actor in the processes of reinventing the social.

This book analyzes the uses of music in the cinema in Chile in terms of meaning and interpretation, considering the socio-political circumstances that have marked the country during the 20th century. The time frame of this research ranges from 1939 when the sustained production of films with optical sound was established in the country and 1973, when the civil-military coup d'état destroyed all the pillars of the cultural field in Chile and many filmmakers and composers left for the exile. This work aims to challenge existing historiography and research by emphasizing the sound dimension of Chilean cinema. Far from being a secondary and decorative aspect, music has been a central element in different moments and practices of Chilean cinema both internally in its formal and narrative proposals and externally in its discursiveness and links with the social and political.