Opera in the Tropics: Music and Theater in Early Modern Brazil, by Rogério Budasz; The Sweet Penance of Music: Musical Life in Colonial Santiago de Chile, by Alejandro Vera; Cinesonidos: Film Music and National Identity during Mexico’s “época de oro,” by Jacqueline Avila; Aaron Copland in Latin America: Music and Cultural Politics, by Carol A. Hess; Elite Art Worlds: Philanthropy, Latin Americanism, and Avant-Garde Music, by Eduardo Herrera

It has been thirty years since the establishment in 1993 of both the Hispanic Music Study Group (now the Ibero-American Music Study Group) of the American Musicological Society, founded by William Summers, and the Hispanic Music Interest Group (now the Latin American and Latinx Interest Group) of the Society for American Music, organized by Henrietta Yurchenco. Since then, United States–based scholarship and publication on Latin American music has grown by leaps and bounds. Although Latin American scholars had long investigated musical life in their own countries, research on Latin American and Latino/a/x music only really began in the United States with the post–World War II work of scholars such as Robert M. Stevenson, Steven Barwick, Gilbert Chase, Arthur L. Campa, Henrietta Yurchenco, Alice Ray Catalyne, John Donald Robb, Lincoln B. Spiess, Américo Paredes, Gerard Béhague, and Robert Snow. Since then, several generations of scholars of Latin American and Latino/a/x music—from...