{'fraction_non_alphanumeric': 0.04164222873900293, 'fraction_numerical': 0.005865102639296188, 'mean_word_length': 5.181159420289855, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Cuarteto Music and Dancing from Argentina: In Search of the Tunga-Tunga in Cordoba (review)

Jane Florine has written a very interesting book about one of the most important regional popular musics of Argentina: Cuarteto Cordobés. If Argentine music is well known for genres like tango, folk, and rock nacional, regional music such as cuartetos is less well known. Therefore, Florine’s book is a welcome addition to a corpus that still is in its infancy: the ethnomusicological study of Argentine popular music. The book starts with chapter 1, Introduction, in which Florine presents the setting in which cuarteto takes place (Córdoba’s province), her theoretical background, and the organization of the book. Six chapters (“The History and Musical Evolution of Cuarteto,” “An Ethnographic Account of the Cuarteto World,” “Dancing Cuarteto-Style,” “Power, Decision-Making, and Innovation in the Evolution of Musical Style,” “Carlos Jiménez and the Process of Musical ‘Change’,” and “The Cuarteto World Revisited: Córdoba in 1998”) are followed by two appendices, a bibliography, a discography, and a list of the videocassettes that are available on the genre. According to Florine, “cuarteto fits into a newer type of ‘people’s musics,’ such as bachata, brega, and chicha, that developed in Latin America in the 1960s with the onset of migration, urbanization, and industrialization” (4). For that reason, in the introduction the author familiarizes us with the history of Córdoba to set the stage to study cuarteto as the music of the internal migrants to Córdoba city. Florine also warns us that the most important goal of her study is to understand the “role of individual innovation in musical change”