ABSTRACT
In the 1990s, popular music from Latin America and the Caribbean has received increasing scholarly attention. A number of books have presented detailed ethnographic studies focusing on single Caribbean styles (Guilbault 1993, Pacini-Herna´ndez 1995, Austerlitz 1997, Averill 1997), while others have offered comprehensive surveys of the musics of the area (Manuel et al. 1995). Some excellent non-specialist texts, moreover, have made readers aware of the influence of Latin American music on jazz and popular music produced in North America, Europe and Africa (Roberts 1985 and 1999).
