Island Gospel: Pentecostal Music and Identity in Jamaica and the United States by Melvin Butler (review)

/es/N%C2%BA-38/periodizacion-historiografica-y-dogmas-esteticos-un-ejercicio-sobre -villancicos-coloniales.html. 20. Leonardo J. Waisman, “La música colonial en la Iberoamérica neo-colonial,” Acta Musicologica 76, no. 1 (2004): 117–27, 122. 21. The sophistication of Gary Tomlinson’s study in English, The Singing of the New World: Indigenous Voice in the Era of European Contact (Cambridge: Cambridge University Press, 2007), does not justify the exclusion of the early period, especially considering the textbook potential of Waisman’s book. 22. In “En busca de una generación perdida: Ser compositor en Iberoamérica en tiempos de independencia (1790–1850),” in Músicas coloniales a debate: Procesos de intercambio euroamericanos, ed. Javier Marín-López (Madrid: Instituto Complutense de Ciencias Musicales, 2018), 355–76, José Manuel Izquierdo König groups composers who shared chronology and social conditions into what he appropriately calls “a lost generation.”