Category Archives: North America

by | June 13, 2025 · 6:00 am

Montréal’s rich musical and intellectual life

As the capital of Québec, Montréal is home to around 40% of the province’s population—approximately 2 million people, as of 2021. The city was originally settled by the Iroquois along the Saint Lawrence River before being established as Ville-Marie in 1642 by Catholic missionaries. Nearly a century earlier, in 1535, Jacques Cartier documented his visit to the Indigenous village of Hochelaga, a thriving community of around 1,500 inhabitants at the foot of Mount Royal. However, by the time the missionaries arrived, no trace of Hochelaga remained. Montréal’s location, at the confluence of the Saint Lawrence and Outaouais Rivers in southwestern Québec, was ideal for settlement due to its access to natural resources.

Aerial view of Montréal in 1930. Photo courtesy of Archives de la Ville de Montréal.

Montréal’s Jacques Cartier Square, circa 1900. Photo courtesy of the Library of Congress.
Cartier Square today. Photo credit: Taylor McIntyre

By the late 18th century, Montréal’s cultural landscape had begun to flourish with the construction of theaters, organized tours, and a growing concert-going audience. In 1789, composer and poet Joseph Quesnel, along with painter Louis Dulongpré, established the Théâtre de Société, where Quesnel premiered Colas et Colinette, recognized as the first Canadian opera, in 1790. The city’s theatrical development continued in 1825 with the opening of the Théâtre Royal, located on the site of today’s Marché Bonsecours, which attracted talented singers from Europe and the United States.

Since the 19th century, Montréal’s vibrant musical scene has thrived through clubs and organizations dedicated to enriching public performances. The Ladies’ Morning Musical Club, established in 1892, welcomed legendary performers such as Vladimir Horowitz, Arthur Rubinstein, Glenn Gould, Isaac Stern, Jean-Pierre Rampal, and Pierrette Alarie. In 1919, Elizabeth Griswold Waycott founded the Delphic Study Club, which hosted an annual music week from 1923 to 1937, featuring free concerts in theaters, shops, schools, churches, and other public spaces. Another significant contribution came in 1948 with the founding of Société Pro Musica by Gertrude Constant Gendreau, known for its diverse programming of local and international musicians.

Ernest Lavigne and his Orchestra, Sohmer Park, Montreal.

Beginning in 1979, the Prix Gertrude Gendreau has recognized outstanding Montréal students, while several major music institutions have made the city their home–including Youth and Music Canada (since 1949), the Canadian Music Center’s Quebec branch (since 1973), the Quebec Music Council (since 1987), and the World Musicians’ Centre (since 2017). From 1965 to 1980, the Montréal International Music Competition awarded a special prize for the best interpretation of a compulsory piece composed by a Canadian artist.  

The Bibliothèque et Archives nationales du Québec (Quebec National Library and Archives) in Montréal.

Montréal has hosted major international events, including the 1967 World’s Fair (Expo 67) and the 1976 Summer Olympics, further cementing its reputation as a global cultural hub. Today, the city is home to four universities and numerous research centers, as well as key institutions like the Bibliothèque et Archives nationales du Québec (Quebec National Library and Archives) and the Radio-Canada Museum. Montreal’s rich arts scene includes a network of cultural centers, theaters, event spaces, and museums. The city also boasts two symphony orchestras and a prestigious opera house, reinforcing its status as a thriving center for artistic and intellectual life.

This according to MGG Online’s featured article of the month by Ariane Couture, entitled Montréal.

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by | May 31, 2025 · 6:00 am

Asian American music teachers’ experiences

Asian Americans hold distinct positions across various professions, experiencing both significant underrepresentation in some fields and notable overrepresentation in others. The Asian population in the United States has grown substantially–an 88% increase over the last two decades. Despite this growth, disparities persist, with Asian Americans remaining underrepresented in numerous sectors. For instance, they comprise only 2% of teachers in the public school system. Some argue that Asian Americans have overcome racial discrimination by embodying the so-called “model minority” stereotype, often associated with higher levels of affluence and educational attainment compared to other minority groups, such as Black and Hispanic communities.

During the COVID-19 pandemic, a troubling trend emerged, with one in six hate crimes against Asian Americans involving physical violence and another one in six incidents reflecting social exclusion or avoidance. Additionally, more than one in nine cases suggested potential civil rights violations, such as workplace discrimination. Despite these challenges, the role of Asian American educators in advancing social justice remains largely understudied. While multicultural music education has occasionally incorporated their perspectives, comprehensive research on their experiences as minorities is limited. Applying the lens of Asian critical theory (AsianCrit) uncovers some of the distinct obstacles faced by Asian American music teachers and evaluates their impact on educational practices and policies.

In this context, educators of color navigate a dual challenge: resisting stereotypes tied to their heritage while preserving their cultural identities in educational environments that often push conformity to dominant white cultural norms. Building on critical race theory (CRT), S.D. Museus and J.S. Iftikar (2014) developed AsianCrit, a framework that merges CRT with insights from Asian American studies to address the complexities of Asian American experiences. AsianCrit has revealed the model minority myth as a tool of racial subjugation and illustrated how Asian Americans are strategically positioned in political debates, such as those surrounding affirmative action. The AsianCrit framework is deliberately pan-ethnic, recognizing that, despite their diverse backgrounds, Asian Americans experience racialization as a collective group. This shared racialization manifests through common challenges faced across Asian communities in the U.S., including racial isolation in educational settings, hostility, assimilation pressures, and racial silencing. By prioritizing race over ethnicity, AsianCrit facilitates a deeper exploration of how white supremacy and systemic racism shape broader racial dynamics, providing a critical lens for analyzing Asian American experiences.

Through the AsianCrit lens, racial dynamics reveal that many Asian American music educators struggle with identity and belonging in a system that often renders them invisible. The deeply ingrained perception of Asian Americans as perpetual outsiders challenges their legitimacy as Americans. Establishing affinity networks is not merely beneficial but essential for the empowerment of Asian American communities in educational spaces. These networks serve as more than safe havens–they act as catalysts for resistance and change, fostering solidarity and transforming dialogue into actionable progress and transformative action. Moreover, such networks should be integrated into educational leadership at multiple levels to promote culturally responsive teaching and dismantle monolithic narratives within curricula.

This according to “In/visible voices: Investigating Asian American music teachers’ experiences through the lens of AsianCrit” by Katy Ieong Cheng Ho Weatherly (Bulletin of the Council for Research in Music Education [spring 2024] 25–46; RILM Abstracts of Music Literature, 2024-8288).

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by | May 8, 2025 · 6:00 am

Music and the Vietnam War

Following the fall of Sài Gòn (now Thành phố Hồ Chí Minh) on 30 April 1975, the experiences and contributions of South Vietnamese war veterans were largely erased from public memory. In recent years, efforts to address this erasure have included the rediscovery of pre-1975 Vietnamese music, particularly Nhạc vàng (“yellow music”), which refers to popular songs of South Vietnam, many of which were composed before 1975. Capturing the realities of war and the lives of Vietnamese soldiers (người lính), Nhạc vàng offers a valuable historical perspective, shedding light on the struggles and hardships faced by South Vietnamese soldiers. Deeply embedded in the Vietnamese diaspora, its enduring melodies provide a crucial link to their ongoing struggles and memories within today’s geopolitical landscape. Over time, Vietnamese music—ranging from contemporary popular songs to poignant war ballads—has evolved into a powerful tool for preserving the voices of those silenced by history. For many South Vietnamese veterans, music became an emotional refuge, helping them navigate fading nostalgia and the painful memories of the Vietnam War.

Pre-1975 Nhạc vàng album cover art. Courtesy of Saigoneer.com

For many U.S. soldiers, popular music played a crucial role in shaping their experiences of the war. A Kentucky rifleman who spent his tour trekking through the central highlands of Vietnam recalled Nancy Sinatra‘s These boots are made for walkin’ as a defining song. A tunnel rat, who used to blow smoke into Viet Cong tunnels, remembers Jimi Hendrix’s Purple haze. For an African American marine reeling from the assassination of Martin Luther King Jr., it was Aretha Franklin’s Chain of fools. And for countless others, songs like Country Joe and the Fish’s I feel like I’m fixin’ to die, Creedence Clearwater Revival’s Who’ll stop the rain, and The Animals’ We gotta get out of this place became anthems of their war experience. Popular music was central to the American experience in Vietnam, bridging the gap between troops and the home front, while providing a soundtrack to the emotional complexity of the war they were thrust into. Music was an often overlooked yet crucial part of the conflict, influencing the experiences and memories of every group of Vietnam veterans.

Music also played a crucial role in shaping public perception of the Vietnam War in the United States, as songs reflected both support and opposition to the conflict. Unlike the professionally produced music of World War II, Vietnam-era songs were embraced by the public and became central to cultural gatherings such as folk festivals, college dorm sing-alongs, and peace rallies. The war exposed deep societal divisions, with music serving as an emotional outlet for discontent, anger, and the desire for peace–contrasting sharply with the patriotic themes of previous conflicts. Both anti-war and pro-war movements used music to express their sentiments, with supporters of the war favoring country music while opponents turned to folk and rock to amplify their voices. The powerful emotions embedded in these songs made the Vietnam War distinct in its musical and cultural impact.

Furthermore, activist musicians like Phil Ochs (pictured above) provided a more nuanced and critical perspective on the war than what was typically found in mainstream media. His songs often addressed controversial aspects of the Vietnam War that were otherwise overlooked or suppressed. Ochs’ music was raw and uncompromising, standing out among his contemporaries. Despite being a key figure in the 1960s anti-war movement and a prolific writer of topical songs, Ochs remained less commercially recognized than other folk icons like Bob Dylan or Joan Baez. His most productive years coincided with the peak of U.S. involvement in Southeast Asia, a time when his popular music served as a powerful critique of the war.

This according to “Échos rescapés: Redocumenter la musique vietnamienne d’avant 1975–Pistes sonores historiques et mémorielles [Rescued echoes: Redocumenting Vietnamese music from before 1975–Historical and memorial soundtracks]” by Kathy Nguyen, Lieux de mémoire sonore: Des sons pour survivre, des sons pour tuer, ed. by Luis Velasco-Pufleau and Laëtitia Atlani-Duault (Paris: Maison des Sciences de l’Homme, 2021, 137–172; RILM Abstracts of Music Literature, 2021-107659), and We gotta get out of this place: The soundtrack of the Vietnam War by Doug Bradley (Amherst: University of Massachusetts Press, 2015; RILM Abstracts of Music Literature 2015-18652).

The 50th anniversary of the fall of Sài Gòn, marking the end of the Vietnam War, was celebrated on 30 April 2025.

The track below exemplifies the sound of pre-1975 Nhạc vàng.

Below is a link to Phil Ochs performing on Canadian television on 27 September 1965.

https://www.youtube.com/watch?v=hPFl8pOx9Zo

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by | April 29, 2025 · 6:00 am

The traveling organ

When the congregation of the Catholic Heilig-Geist-Kirche in the historic Hanseatic town of Lemgo, North Rhine-Westphalia, embarked on a renovation project from 2021 to 2023, they sought to replace their aging electronic organ with a proper pipe organ but were constrained by budget limitations. An opportunity arose to acquire a nearly century-old Wurlitzer Style D theater organ, built by the Wurlitzer factory in North Tonawanda, New York (near Niagara Falls), in 1924. The organ was first acquired in the late 1940s by Dr. Howard C. Stocker for his personal use in Los Angeles. By 1955, Stocker had moved the organ to San Bernardino (just east of Los Angeles), installing it in a custom-built home specially adapted to accommodate the instrument’s size and requirements. The house soon became a popular venue for concerts. In 1987, tragedy struck when a fire destroyed the entire house–but remarkably, the organ survived. Despite the unfortunate event, Stocker was quite relieved because he believed a house could be rebuilt, but the Style D organ was irreplaceable.

After Stocker’s death in 1993, the organ was temporarily stored in Kansas before being transported to Celle, Lower Saxony, Germany. There, cinema organ enthusiast Friedhelm Fleiter–who had long sought a Wurlitzer Style D–discovered it. For many years, Fleiter preserved and maintained the instrument as a personal passion project. To ensure its functionality, several components were carefully restored and modified for use in the church; however, preserving the original organ’s design and architectural integrity remained the top priority.

When the organ was relocated to the church, preserving the original Wurlitzer Style D façade proved impossible. Instead, a new organ case was designed to complement the church’s architectural style. The organ’s structure consists of two vertically stacked, roughly cube-shaped sections, along with a freestanding console. The upper section houses the pipework and features swell doors on two sides, which remain closed when the organ is not in use to ensure the enclosed pipes stay in tune. Although the new organ cannot fully replicate the musical fidelity of the original, it serves its purpose well in worship settings, particularly for accompanying congregational singing.

This according to “100 Jahre und kein bisschen leise: Eine Wurlitzer-Orgel (1924) für Lemgo” [100 years old and not a bit quiet: A Wurlitzer organ (1924) for Lemgo] by Ralf-Thomas Lindner (Organ: Journal für die Orgel 27/4 [2024] 26–30; RILM Abstracts of Music Literature, 2024-20513).

Listen to Singing in the rain performed on a Wurlitzer Style D organ below. The second video features a different model Wurlitzer organ.

Related Bibliolore posts:

https://bibliolore.org/2022/08/04/the-fokker-organ/

https://bibliolore.org/2019/02/04/how-to-destroy-an-organ/

https://bibliolore.org/2011/03/29/the-wanamaker-organ/

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by | February 11, 2025 · 6:00 am

Katherine Dunham’s African diasporic dance aesthetics

African American dancer, choreographer, and anthropologist Katherine Dunham used ballet and African diasporic movement traditions to develop a dance methodology that subverted the white patriarchal gaze and forever changed the aesthetics of the Broadway stage. Early in her career as a dancer, Dunham cultivated techniques rooted in ballet but influenced by African dance aesthetics. Throughout her career, she attained a prominent status in the dance world, inspiring Black dance students to pursue their studies with courage and purpose. Her work also elevated Black dance forms out of the burlesque and made them more dignified.

Dunham’s technique combined Eurocentric ballet traditions with elements of the African diaspora, utilizing bodily aesthetics and movement to subversively engage the voyeuristic gaze–an approach that allowed her to manipulate socially inscribed and discursively produced identities. Through her work, including the dance piece L’ag’ya (1938) and the 1940s Broadway musicals Pins and needles and Cabin in the sky, Dunham maneuvered through dominant cultural narratives and cultivated a solid foundation for African American dancers, choreographers, and Black musical theater.

Theorizing Dunham’s work through the lenses of the voyeuristic gaze, race and culture, the sexuality of the Black body, and Black musical theater elucidates how she transgressively used dominant ideologies and spaces of racial and patriarchal oppression. By doing so, Dunham created opportunities to make African diasporic aesthetics of dance and the body legible to white audiences.

This according to “Développé: Katherine Dunham’s diasporic dance” by Amanda Jane Olmstead (Studies in musical theatre 11/3 [2017] 303–310; RILM Abstracts of Music Literature, 2017-37090).

Below, Dunham performs accompanied by a West Indian creole music ensemble in a 1952 ballet at the Cambridge Theatre in London.

Read a related Bibliolore post:

https://bibliolore.org/2012/07/02/katharine-dunham-and-lagya/

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by | January 13, 2025 · 6:00 am

U.S. public radio’s educational objective

U.S. public radio has unique origins and structure, distinct from both national broadcasters following European models and commercial enterprises. Public radio began as a highly localized system with educational objectives, shaped by the needs of public educators and initially implemented by state universities and educational institutions. The constraints and challenges faced by educational radio demonstrate how public radio advocates and practitioners worked to create an alternative vision to commercial broadcasting. Blending the efforts of government agencies, grassroots activism, classroom educators, universities, philanthropic organizations, and private industry, U.S. public radio emerged in the 1960s as a nonprofit sector. Free from the pressures of the commercial marketplace, public radio eventually shifted away from its educational focus to produce informative and socially conscious programming.

The foundational principles of public media originate in Progressive Era philosophies of the late 19th and early 20th century, notably those of John Dewey, who believed that democracy flourished when institutions raised awareness about one’s community. Dewey advocated for the understanding of democracy through education and believed that specific institutions, which he termed “intentional agencies”, could be tasked with promoting equity. Around this time, states began to view universities as bureaucratic centers for economic, public, and cultural extension work.

Public media and radio, in this sense, can be traced back to Progressive Era concepts advocating for equal access to education, through reform efforts, and culminating in the 1967 Public Broadcasting Act, which was structured around key provisions, including construction grants for educational broadcasting, the maintenance of facilities, and the study of educational and instructional broadcasting. Each of these provisions responded to different institutional pressures that had been building prior to the Act’s passage.

This according to “Educating the public: U.S. public radio’s roots in education and research” by Josh Shepperd, The Oxford handbook of radio and podcasting, ed. by Michele Hilmes and Andrew J. Bottomley (New York: Oxford University Press, 2024, 239–258; RILM Abstracts of Music Literature, 2024-6500).

January 13th is Public Broadcasting Day.

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by | November 14, 2024 · 6:00 am

Zitkala Ša, Dakota composer and activist

At the end of the 19th century, a series of narrative essays published in The Atlantic Monthly by Dakota composer and activist Gertrude Bonnin, better known by her self-chosen name Zitkala Ša, focused on the violence of compulsory U.S. boarding schools. Existing research on her activism, however, has overlooked the subversive role of music, dance, and sound in her literary and musical projects, which reveal Zitkala Ša’s sophisticated sonic politics.

The historical tension between the prohibition and appropriation of Indigenous sounds highlights how the boarding school press functioned as a powerful engine for assimilation projects. A close reading of Zitkala Ša’s essay, The Indian dance: A protest against its abolition, along with an examination of its reception, reveals her reverse-gaze strategy and demonstrates her effectiveness in challenging aggressive assimilationists. Similarly, her collaboration on The sun dance opera resulted in a project that defied neat categorization and withheld complete disclosure of the ceremony, establishing its own sonic politics of self-determination. Zitkala Ša wrote the libretto and the songs for the opera, while William F. Hanson, a professor of music at Brigham Young University, composed the score. The songs were inspired by a sacred ritual that was federally outlawed from 1904 to 1978. The opera was groundbreaking, allowing Zitkala Ša to bridge her worlds through music. It premiered in February 1913 at Orpheus Hall in Vernal, Utah, featuring performances by members of the Ute Nation residing on the Uintah-Ouray Reservation.

Zitkala Ša’s years on the Uintah-Ouray Reservation, often mischaracterized as a period of domesticity in her literary career, were marked by significant creative sonic productivity, representing an important phase in her evolving activism that bridged her earlier years of serial publication with the sophisticated vocal activism of her later work.

This according to “Tiny taps and noisy hacks: Listening to Zitkala Ša’s sonic politics” by Kristen Brown (Resonance: The journal of sound and culture 2/1 [spring 2021] 348–362; RILM Abstracts of Music Literature, 2021-7615).

Watch a short documentary on Zitkala Ša’s life in music and activism below.

https://www.pbs.org/video/zitkala-sa-american-indian-composer-author-activist-qqjsyq/

Related Bibliolore posts:

https://bibliolore.org/2022/11/03/national-native-american-heritage-month-an-annotated-bibliography/

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by | October 28, 2024 · 6:00 am

RILM Launches DEUMM Online

RILM cordially invites you to join us for the release of DEUMM Online on Wednesday, 30 October 2024, at 7:30 pm CET / 1:30 pm EST. Co-sponsored by the Associazione fra i Docenti Universitari Italiani di Musica (ADUIM) and IAML-Italia, the event will take place in the Teatro Palladium auditorium in Rome, Italy.

Teatro Palladium, Ph. © Francesco Ciccone

DEUMM Online digitizes, enhances, and extends the Dizionario enciclopedico universale della musica e dei musicisti (DEUMM), the most important modern music dictionary in the Italian language. Comprising a broad range of entries (persons, topics, dances, genres, geographical locations, institutions, instruments, and works), DEUMM Online uses advanced and intuitive search and translation functionalities. This venerable music encyclopedia, which has set the standards in modern Italian music lexicography, is, in its new online format, once again an indispensable node in a comprehensive, international, networked research experience.

For those unable to join the Rome event in person, the event will be live streamed on YouTube by Fondazione Roma Tre Teatro Palladium, accessible directly from the following QR code:

The program (below) will include Daniele Trucco’s DEUMM-inspired music, greetings from Luca Aversano (President, ADUIM), Marcoemilio Camera (President, IAML Italia), and Tina Frühauf (Executive Director, RILM), as well as presentations by Zdravko Blažeković (Executive Editor, RILM), Stefano Campagnolo (Director, Biblioteca Nazionale Centrale di Roma), Alex Braga (composer), and DEUMM Online’s general editors Antonio Baldassarre and Daniela Castaldo. Pianist Giuseppe Magagnino will also perform works by Ellington, Beethoven, The Beatles, and more.

And mark your calendars: DEUMM Online will be featured again at the following events:  

  • 19 November 2024: Turin, hosted by Istituto per i Beni Musicali di Piemonte at the Teatro Regio
  • 21 November 2024: Milan, hosted by the Archivio Storico Ricordi in the Biblioteca Nazionale Braidense

Hear more about DEUMM Online and download the DEUMM Online brochure and logo.

DEUMM Online trailer (Italian)

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Filed under 20th- and 21st-century music, Africa, Analysis, Antiquity, Asia, Australia and Pacific islands, Baroque era, Black studies, Central America, Classic era, Dance, Dramatic arts, Ethnomusicology, Europe, Film music, Geography, Iconography, Iconography, Instruments, Jazz and blues, Literature, Mass media, Middle Ages, Musicologists, Musicology, North America, Opera, Opera, Politics, Popular music, Religion, Religious music, Renaissance, RILM news, Romantic era, Sound, South America, Visual art, West Indies, World music

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by | October 13, 2024 · 6:00 am

Sergio Mendes and Brasil ’66

Brazilian pianist and bandleader Sergio Mendes began studying piano at a young age, continuing his education under Carmelita Lago. However, drawn to jazz and popular music, he eventually departed from his classical training and embarked on a successful career in commercial pop music around 1960. Mendes participated in jam sessions at the Little Club in Rio de Janeiro and, in 1961, led the Brazilian Jazz Sextet at the Third South American Jazz Festival in Montevideo. Following the military coup d’état in Brazil in 1964, Mendes relocated to Los Angeles, where he restarted his career by auditioning at various local jazz clubs.

That same year, Mendes, along with bassist Tião Neto and drummer Edson Machado, formed the Sergio Mendes Trio, touring North and South America as well as Japan. In the United States, the trio recorded the groundbreaking LP The Swinger from Rio for the Atlantic label. Mendes also created another group called Brasil 65, which lasted for seven months and produced the LP Brasil 65. He later achieved international acclaim with his next ensemble, Brasil ’66. While in New York, Mendes collaborated with renowned musicians such as Art Farmer, Bud Shank, and Tom Jobim on new bossa nova recordings. For this new group, he secured a contract with Herb Alpert, the leader of Tijuana Brass and owner of A&M Records.

Alongside singers Lani Hall, Sílvia Vogel, and later Karen Phillips, Mendes recorded the album Sergio Mendes & Brazil ’66, which sold over a million copies. Their vibrant cover of Jorge Ben‘s song Mas que nada became a number one hit, with other tracks from the album also climbing into the top 40 charts. To align with U.S. market preferences, Mendes produced stylistic arrangements of Brazilian songs by composers like Chico Buarque, Edu Lobo, and Gilberto Gil. The following year, his group ranked as the third most popular act in U.S. pop music. Each decade brought updates to his ensemble’s name and style: Brasil ’77, Brasil ’86, Brasil ’88, and Brasil ’99. The stylistic evolution of these groups spanned from early bossa nova in the 1960s to more sophisticated interpretations of well-known songs, culminating in an experimental blend of jazz, funk, and modern Brazilian pop. Mendes won a Grammy Award in 1993 for the album Brasileiro, and in 1997, Down Beat magazine honored his album Ocean as the best album of the year in the “beyond jazz” category.

Sergio Mendes passed away on 5 September 2024 at the age of 83. Read more a out his life and career in MGG Online.

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by | September 21, 2024 · 6:00 am

The voice of el pueblo

The Mexican singer-songwriter Amparo Ochoa is considered one of the most remarkable and versatile performers of the Mexican canto nuevo movement (related to nueva canción). Born in Culiacán in 1946, Ochoa grew up singing at various school events and with her father. She later taught in rural grade schools in her home state where songs were an essential part of her teaching. Her deep connection with Mexican and Latin American audiences is often expressed through her innate charm. This sense of popularity is not only rooted in the political messages of the songs she performed but also in the influential platforms where she showcased her talent.

The widespread perception of her voice as representative of the people is rooted in the rich vocal traditions of early 20th century Mexican musical theater, which evolved throughout the century and were recontextualized during the Latin American Cold War. These vocal strategies, deeply impactful on listeners, shaped their understanding of el pueblo and fostered sympathy for movements opposing dictatorial regimes in the 1970s and 1980s. This interpretation of her voice foregrounds the role of music and song in the ideological and political frameworks of the time and expresses how the emotional resonance of her voice influenced listeners’ subjectivity.

Celebrate Hispanic Heritage Month by reading “La voz del pueblo y para el pueblo” Amparo Ochoa’s vocal trajectory: From the Mexican Revolution to the Latin American Cold War” by Natalia Bieletto Bueno (Journal of interdisciplinary voice studies 5/1 [2020] 9–28; RILM Abstracts of Music Literature, 2020-72069).

Below is a video of Ochoa performing the song A que te tiras cuando sueñas mexicano on a Mexican television program.

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