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Raúl R. Romero. Andinos y tropicales: la cumbia peruana en la ciudad global. Lima: Instituto de Etnomusicología, Pontificia Universidad Católica del Perú. 2007. 104 pp., photos, DVD. ISBN: 978-603-45070-1-2.
Claude Ferrier. El huayno con arpa: estilos globales en la nueva música popular andina. Lima: Instituto de Etnomusicología, Pontificia Universidad Católica del Perú. 2010. 144 pp., photos, maps, diagrams, bibliograhy, CD. ISBN: 978-612-45070-0-7.
Manuel Arce Sotelo. La danza de tijeras y el violín de Lucanas. Lima: Instituto de Etnomusicología, Pontificia Universidad Católica del Perú. 2006. 168 pp., photos, bibliography, CD. ISBN: 9972-623-38-6.
Efraín Rozas. Fusión: banda sonora del Perú. Lima: Instituto de Etnomusicología, Pontificia Universidad Católica del Perú. 2007. 96 pp., photos, CD, DVD. ISBN: 979-603-45070-0-5.
Of the four books published by the Pontificia Universidad Católica del Perú's Instituto de Etnomusicología reviewed here, Raúl Romero's Andinos y tropicales: la cumbia peruana en la ciudad global (2007) is the only one that has previously appeared in print, as the chapter "Popular Music and the Global City: Huayno, Chicha and Techno-Cumbia in Lima" in Walter Aaron Clark's edited volume From Tejano to Tango: Essays in Latin American Popular Music (2002). Romero is to be commended for having made his essay accessible to Spanish-speaking scholars. This new version includes a 46-minute DVD documentary featuring leading Peruvian musicians (e.g., Julio "Chapulín" Simeón of the chicha group Los Shapis, techno-cumbia singer Rossy War) and social scientists (e.g., Carlos Iván Degregori, Rodrigo Montoya) and, as an appendix, transcribed interviews with the electric guitarists Jaime Moreyra of Los Shapis and Edilberto Cuestas of Los Ecos. The original essay's main contribution to the Andeanist literature was Romero's analysis of techno-cumbia's sudden rise to popularity in late 1990s Lima within the neoliberal (free-market capitalist) context of the final years of President Alberto Fujimori's administration. Unlike the case with Peruvian chicha, whose blend of the Andean huayno, Colombian cumbia and North American rock has been mainly popular among working-class individuals of Andean heritage, techno-cumbia demonstrates few if any audible references to traditional Andean expressions, which Romero argues is one key reason for techno-cumbia's much greater cross-class appeal in Peru, along with the genre's sexual imagery (e.g., scantily-clad female dancers) and mainstream pop sound.
Claude Ferrier's El huayno con arpa: estilos globales en la nueva música...