Musical Scenes from Ibero-America

In general, the notion of musical scene is quite rich and varied.Will Straw, for example, points out that it is widely used by researchers, professionals, and teachers in a circumstantial and diversified way in all types of academic communication (In Pereira & Janotti, 2013, pp.13-28).This has been seen as a weakness for the empirical application of said construct, a criterion exercised from the identification of its absorbency and semantic equivocality.Without a doubt, this can limit its own operability to generate new knowledge and consensus on certain sound-musical practices.Contrary to the above, this book focuses on the diversity of musical scenes as one of its greatest strengths.In this way, the concept becomes an opportune discursive field to build various dynamic and flexible approaches to Ibero-American musical endeavors, whether from the historical past or recent actions.In that sense, to John Connell and Chris Gibson:[…] the uniqueness of local music scenes is simple; Music is made in specific geographic, socioeconomic, and political contexts, and lyrics and styles are likely to reflect the positions of writers and composers within these contexts.(2003, p. 90) These teachers use an interdisciplinary perspective to analyze local, national and/or global scenes, as well as to explore various positions on music in their germinal contexts.By going this, they delve into the different ways in which places, sounds, and identities can generate notions of spatiality and cultures in, from and for popular music.Therefore, for