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Throughout I retain diacritical marks in proper names even if sometimes they are omitted in the literature (i.e., Chávez). In the case of scholars with Spanish or Portuguese surnames who have apparently dropped diacritical marks, I continue this practice (i.e., Gonzalez).
If a work has been translated well into English, I cite the translation for readers unfamiliar with Spanish. When a foreign-language source is available in a good research library, I give only the English translation. For harder-to-find documents, such as newspaper reviews, I give both the translation and the original language. Unless otherwise noted, all translations are my own.
One thorny translation-related matter is the word popular. In Spanish it can mean “well-liked by a broad public,” as José Ortega y Gasset so devastatingly explained in The Dehumanization of Art. It can also mean “of the people” or “made by the people”; consequently, what native speakers of English may call “folk music” may be labeled música popular. In English-language aesthetic discourse the term popular (as in “popular culture”) is a matter of some contention. Does it approximate the second definition given above, that is, “made by the people”? Does it simply refer to wide favor? Anything not “high art”? Culture that is mass-produced or commercial? Throughout this book I have tried to situate each term as clearly as possible, referring to “folk music” when composers and critics themselves have done so and following suit with “popular.” When necessary, as in the two chapters on the cold war, I specify “mass” or “commercial” music and contextualize the ideological agenda as appropriate.
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