Quien Canta, Sus Males Espanta: Latin American Choirs in Canada
Bibliographic record
Abstract
Among the great variety of choirs developing in Canada (Abbott and Meredith, 2012), Latin American choirs represent an important group since the beginning of this century. This research addresses eight previously unstudied Latin American choirs in five Canadian cities, most of which were founded after 2000 and are still active today: Ágora Ibero-American Choir, Cantares Latin Choir, Canto Vivo, Fusión Latina, Los Parranderos de Vancouver, Nuestras Voces, UNAM-Canada Choir, and Viene Sonando. The aim of this study is to examine how these choirs function in the Canadian musical context. The methods used to carry out this research were interviews and questionnaires with the conductors of these choirs and the analysis of videos of their performances and other primary sources related to the choirs.\nInformed by works that approach choral activity from a viewpoint related to society, traditions, cultures, and identity - which propose an effective way of dealing with Canadian multiculturalism (Bradley, 2006 & 2017; Diamond, 2000); and through studies that address the identity quest of Latin American musicians in Canada and the U.S. - who must deal with the possible hybridization of their music (Galván 1996 & 2010; Pacini, 2010), I examine the strategies used by Latin American choirs to preserve their tradition, maintain authenticity, and reaffirm their identity in the multicultural Canadian context.\nMy findings suggest that these choirs place great value on the preservation of Latin American cultural traditions, while preserving their authenticity. To achieve this, they have developed preservation strategies to ensure the persistence of their tradition and the choirs themselves. Moreover, these choirs have not had the need to resort to processes of musical hybridization, but on the contrary, they preserve the performance of their repertoire as authentically as possible. All of this contributes to reaffirming the Latin American identity of both conductors and choristers. From my research, I can suggest that these choirs have been able to successfully maintain and shape their identity in the Canadian musical context through the preservation of Latin American musical tradition and authenticity.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.002 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.003 |
| Science and technology studies | 0.023 | 0.005 |
| Scholarly communication | 0.007 | 0.002 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.008 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".