This book has been over five years in the making, and along the way we have
benefited from the support and assistance from many people and institu-
tions. Home to one of the largest Latin American research libraries in the
country, Tulane University served as an ideal place to develop this project.
We are grateful to the Stone Center for Latin American Studies and its ex-
ecutive director, Tom Reese, for early financial support to translate chap-
ters from Portuguese to Eng lish. (In general, the translations were done by
Idelber Avelar, Christopher Dunn, and Aaron Lorenz; in the other chapters,
translations of Portuguese-language quotations are the works of the respec-
tive authors.) We appreciate the good work of Michael Bernstein, provost
and senior vice president for academic affairs, and Carole Haber, the dean
of the School of Liberal Arts, who have shown a keen interest in Brazil-
ian studies at Tulane University. We are also grateful to our colleagues in
the Department of Spanish and Portuguese, for the wonderful atmosphere
and the continuing support. We would not have been able to complete this
book without the help of Claudia de Brito, our executive secretary. In 2008,
Tulane University hosted the IX Congress of the Brazilian Studies Associa-
tion, which gave further impetus to the research and teaching of Brazilian
studies on campus. In an indirect way, this book is a product of this favor-
able intellectual environment.
We have benefited from the work of several scholars of Brazilian music
who didn’t participate directly in this volume, but whose work is central
to our concerns, including Charles Perrone, José Miguel Wisnik, George
Yúdice, Byran McCann, Marta Ulhôa, Marcos Napolitano, Herom Vargas,
Paulo César de Araújo, Paulo Henrique Caetano, Fred Góes, Júlio Tavares,
Jason Stanyek, and Ana María Ochoa. We appreciate the efforts of two anony-
mous evaluators, who provided insightful commentary and useful sugges-
We are grateful to several individuals who were instrumental in research-
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