Hugo R. Viera-Vargas is Professor at the Universidad Albizu, San Juan, Puerto Rico, and Associate Researcher at Colectivo de Estudios Musicales de Puerto Rico.Noraliz Ruiz-Caraballo is Associate Researcher at Colectivo de Estudios Musicales de Puerto Rico, and Musical Director for Orquesta Jíbara Dr. Francisco López Cruz, Puerto Rico.Errol L. Montes-Pizarro is Professor of Mathematics at the Universidad de Puerto Rico, Recinto de Cayey, and Associate Researcher at Colectivo de Estudios Musicales de Puerto Rico.Jaime O. Bofill-Calero is Associate Professor of Ethnomusicology at Conservatorio de Música de Puerto Rico, and Associate Researcher at Colectivo de Estudios Musicales de Puerto Rico.Noel Allende-Goitía is Associate Researcher at Colectivo de Estudios Musicales de Puerto Rico, and Lecturer of Comparative History of Music and Research Methodology at Armoniarte Escuela Superior de Educación Artística, México.

• Prologue Introduction: The embodied soundscape of popular music studies in Puerto Rico PART I: The invention of the popular in Puerto Rican music Section introduction: The invention of the popular in Puerto Rican music 1 What is popular in Puerto Rican music? Music and musiking as construction and affirmation of the self 2 Identity debates and symbolic capital: Cultural policies around traditional Puerto Rican music 3 Revisiting Puerto Rican Nueva Canción and its discourse of resistance 4 Cuatro music keeps finding new life: Artists, trends, and contemporary practice 5 Crisis notwithstanding: Metal in Puerto Rico PART II: Music, memory, and history Section introduction 6 Puerto Rican Music in the Afro-diasporic world 7 Plenazos callejeros, embodied memory, and contemporary plena in Puerto Rico, 2005–2012 8 (Re)listening to Gottschalk, Morel Campos, and the jíbaros: Danza’s connection with early jazz 9 Record companies in New York City’s East Harlem during the first half of the 20th century 10 Bomba: A long invisible practice of Black placemaking in Puerto Rico PART III: Globalization of the Puerto Rican sound Section introduction 11 De Puerto Rico Pa’l Mundo: A brief history of Puerto Rico’s reggaeton music scene 12 Between romantic idealism and the tough streets: A look at the development of contemporary salsa in Puerto Rico 13 Made in Puerto Rico, made in Chicago: Diaspora as a method for thinking about Puerto Rican music-dance 14 Queering Menudo: Forever Young 15 Coda: Interview with composer Angélica Negrón

Hugo R. Viera-Vargas is Professor at the Universidad Albizu, San Juan, Puerto Rico, and Associate Researcher at Colectivo de Estudios Musicales de Puerto Rico.Noraliz Ruiz-Caraballo is Associate Researcher at Colectivo de Estudios Musicales de Puerto Rico, and Musical Director for Orquesta Jíbara Dr. Francisco López Cruz, Puerto Rico.Errol L. Montes-Pizarro is Professor of Mathematics at the Universidad de Puerto Rico, Recinto de Cayey, and Associate Researcher at Colectivo de Estudios Musicales de Puerto Rico.Jaime O. Bofill-Calero is Associate Professor of Ethnomusicology at Conservatorio de Música de Puerto Rico, and Associate Researcher at Colectivo de Estudios Musicales de Puerto Rico.Noel Allende-Goitía is Associate Researcher at Colectivo de Estudios Musicales de Puerto Rico, and Lecturer of Comparative History of Music and Research Methodology at Armoniarte Escuela Superior de Educación Artística, México.

• Prologue Introduction: The embodied soundscape of popular music studies in Puerto Rico PART I: The invention of the popular in Puerto Rican music Section introduction: The invention of the popular in Puerto Rican music 1 What is popular in Puerto Rican music? Music and musiking as construction and affirmation of the self 2 Identity debates and symbolic capital: Cultural policies around traditional Puerto Rican music 3 Revisiting Puerto Rican Nueva Canción and its discourse of resistance 4 Cuatro music keeps finding new life: Artists, trends, and contemporary practice 5 Crisis notwithstanding: Metal in Puerto Rico PART II: Music, memory, and history Section introduction 6 Puerto Rican Music in the Afro-diasporic world 7 Plenazos callejeros, embodied memory, and contemporary plena in Puerto Rico, 2005–2012 8 (Re)listening to Gottschalk, Morel Campos, and the jíbaros: Danza’s connection with early jazz 9 Record companies in New York City’s East Harlem during the first half of the 20th century 10 Bomba: A long invisible practice of Black placemaking in Puerto Rico PART III: Globalization of the Puerto Rican sound Section introduction 11 De Puerto Rico Pa’l Mundo: A brief history of Puerto Rico’s reggaeton music scene 12 Between romantic idealism and the tough streets: A look at the development of contemporary salsa in Puerto Rico 13 Made in Puerto Rico, made in Chicago: Diaspora as a method for thinking about Puerto Rican music-dance 14 Queering Menudo: Forever Young 15 Coda: Interview with composer Angélica Negrón

Hugo R. Viera-Vargas is Professor at the Universidad Albizu, San Juan, Puerto Rico, and Associate Researcher at Colectivo de Estudios Musicales de Puerto Rico.Noraliz Ruiz-Caraballo is Associate Researcher at Colectivo de Estudios Musicales de Puerto Rico, and Musical Director for Orquesta Jíbara Dr. Francisco López Cruz, Puerto Rico.Errol L. Montes-Pizarro is Professor of Mathematics at the Universidad de Puerto Rico, Recinto de Cayey, and Associate Researcher at Colectivo de Estudios Musicales de Puerto Rico.Jaime O. Bofill-Calero is Associate Professor of Ethnomusicology at Conservatorio de Música de Puerto Rico, and Associate Researcher at Colectivo de Estudios Musicales de Puerto Rico.Noel Allende-Goitía is Associate Researcher at Colectivo de Estudios Musicales de Puerto Rico, and Lecturer of Comparative History of Music and Research Methodology at Armoniarte Escuela Superior de Educación Artística, México.

• Prologue Introduction: The embodied soundscape of popular music studies in Puerto Rico PART I: The invention of the popular in Puerto Rican music Section introduction: The invention of the popular in Puerto Rican music 1 What is popular in Puerto Rican music? Music and musiking as construction and affirmation of the self 2 Identity debates and symbolic capital: Cultural policies around traditional Puerto Rican music 3 Revisiting Puerto Rican Nueva Canción and its discourse of resistance 4 Cuatro music keeps finding new life: Artists, trends, and contemporary practice 5 Crisis notwithstanding: Metal in Puerto Rico PART II: Music, memory, and history Section introduction 6 Puerto Rican Music in the Afro-diasporic world 7 Plenazos callejeros, embodied memory, and contemporary plena in Puerto Rico, 2005–2012 8 (Re)listening to Gottschalk, Morel Campos, and the jíbaros: Danza’s connection with early jazz 9 Record companies in New York City’s East Harlem during the first half of the 20th century 10 Bomba: A long invisible practice of Black placemaking in Puerto Rico PART III: Globalization of the Puerto Rican sound Section introduction 11 De Puerto Rico Pa’l Mundo: A brief history of Puerto Rico’s reggaeton music scene 12 Between romantic idealism and the tough streets: A look at the development of contemporary salsa in Puerto Rico 13 Made in Puerto Rico, made in Chicago: Diaspora as a method for thinking about Puerto Rican music-dance 14 Queering Menudo: Forever Young 15 Coda: Interview with composer Angélica Negrón