This issue theorizes what questions of value might contribute to our understanding of sound and music. Divesting sound and music from notions of intrinsic value, the contributors follow various avenues through which sound and music produce value in and as history, politics, ethics, epistemology, and ontology. As a result, the very question of what sound and music are-what constitutes them, as well as what they constitute-is at stake. Contributors examine the politics of music and crowds, the metaphysics of sensation, the ecological turn in music studies, and the political resistance inherent to sound; connect Karl Marx to black music and slave labor; look at Marx, the Marx Brothers, and fetishism; and explore the tension between the voice of the Worker who confronts Capital head-on and the voices of actual workers. Contributors: Amy Cimini, Bill Dietz, Jairo Moreno, Rosalind Morris, Ana Maria Ochoa Gautier, Ronald Radano, Gavin Steingo, Peter Szendy, Gary Tomlinson, Naomi Waltham-Smith

How is Latin American music heard, by whom, and why? Many in the United States believe Latin American musicians make "Latin music"-which carries with it a whole host of assumptions, definitions, and contradictions. In their own countries, these expatriate musicians might generate immense national pride or trigger suspicions of "national betrayals." The making, sounding, and hearing of "Latin music" brings into being the complex array of concepts that constitute "Latin Americanism"-its fissures and paradoxes, but also its universal aspirations. Taking as its center musicians from or with declared roots in Latin America, Jairo Moreno presents us with an innovative analysis of how and why music emerges as a necessary but insufficient shorthand for defining and understanding Latin American, Latinx, and American experiences of modernity. This close look at the growth of music-making by Latin American and Spanish-speaking musicians in the United States at the turn of the twenty-first century reveals diverging understandings of music's social and political possibilities for participation and belonging. Through the stories of musicians-Ruben Blades, Shakira, Arturo O'Farrill and the Afro-Latin Jazz Orchestra, and Miguel Zenon-Sounding Latin Music, Hearing the Americas traces how artists use music to produce worlds and senses of the world at the ever-transforming conjunction of Latin America and the United States.

How is Latin American music heard, by whom, and why? Many in the United States believe Latin American musicians make "Latin music"-which carries with it a whole host of assumptions, definitions, and contradictions. In their own countries, these expatriate musicians might generate immense national pride or trigger suspicions of "national betrayals." The making, sounding, and hearing of "Latin music" brings into being the complex array of concepts that constitute "Latin Americanism"-its fissures and paradoxes, but also its universal aspirations. Taking as its center musicians from or with declared roots in Latin America, Jairo Moreno presents us with an innovative analysis of how and why music emerges as a necessary but insufficient shorthand for defining and understanding Latin American, Latinx, and American experiences of modernity. This close look at the growth of music-making by Latin American and Spanish-speaking musicians in the United States at the turn of the twenty-first century reveals diverging understandings of music's social and political possibilities for participation and belonging. Through the stories of musicians-Ruben Blades, Shakira, Arturo O'Farrill and the Afro-Latin Jazz Orchestra, and Miguel Zenon-Sounding Latin Music, Hearing the Americas traces how artists use music to produce worlds and senses of the world at the ever-transforming conjunction of Latin America and the United States.

Jairo Moreno adapts the methodologies and nomenclature of Foucault's"archaeology of knowledge" and applies it through individual case studiesto the theoretical writings of Zarlino, Descartes, Rameau, and Weber. His conclusionsummarizes the conditions -- musical, philosophical, and historical -- that"make a certain form of thought about music necessary and possible at the timeit emerges."

Musical Meaning and Interpretation -- Robert S.Hatten, editor