This bibliography is a (son)ic intervention. The following lists some foundational texts for contextualizing the aural aspects of Latin/o American performativity. Though some of the texts/articles mentioned might not address musicality directly, it is up to the reader to listen to the silences, subtexts, and call–and–answer within these texts.

Aparicio, Francis and Chávez–Silverman, Susana. Tropicalizations: Transcultural Representations of Latinidad. Hanover: U P of New England, 1997.

Aparicio, Francis. Listening to Salsa: Gender, Latin Popular Music, and Puerto Rican Cultures. Hanover and London: Wesleyan U P, 1998.

Flores, Juan. From Bomba to Hip–Hop: Puerto Rican Culture and Latino Identity. New York: Columbia U P, 2000.

Frasier–Delgado, Celeste and Munoz, José Esteban eds. Everynightlife: Culture and Dance in Latin/o America. Durham: Duke U P, 1997.

Jones, Gayl. Liberating Voices: Oral Tradition inn African–American Literature. Cambridge: Harvard U P, 1991.

Kun, Josh. "The Aural Border" Theatre Journal 52.1 (2000) 1–21.

Lane, Jill. "Blackface Nationalism, Cuba 1840–1868" Theatre Journal 50.1 (1998) 21–38.

Lipsitz, George. Dangerous Crossroads: Popular Music, Postmodernism and the Poetics of Place. New York: Verso Books, 1997.

Manuel, Peter ed. Essays on Cuban Music. Lantham: U P of America, 1991.

Moore, Robin. Nationalizing Blackness: Afrocubanismo and Artistic Revolution in Havana, 1920–1940. Pittsburgh: U of Pittsburgh P, 1997.

Morris, Adalaide ed. Sound states: Innovative Poetics and Acoustical Technologies. Chapel Hill: U of North Carolina P, 1997.

Ortiz, Fernando. Cuban Counterpoint. Durham: Duke U P, 1995.

Ortiz, Ricardo. "Café, Culpa, and Capital: Nostalgic Addictions of Cuban Exile" The Yale Journal of Criticism 10.1 (1997) 63–84.

Paredes, Américo. With his pistol in his hand. Austin: U of Texas P, 1958.

Saldivar, José David. Border Matters: Remapping American Cultural Studies. Berkeley: U of California P, 1997.