Eduardo Herrera (he/him/his) is Associate Professor of Musicology at Rutgers, The State University of New Jersey. He specializes in contemporary musical practices from Latin America, the Caribbean, and Latinx peoples in the United States from historical and ethnographic perspectives. His research topics include Argentine and Uruguayan avant-garde music, soccer chants as participatory music making, and music and postcoloniality in Latin America.
Herrera first book, Elite Art Worlds: Philanthropy, Latin Americanism, and Avant-Garde Music (Oxford University Press, 2020) explores the history of the Centro Latinoamericano de Altos Estudios Musicales (1962–1971) as a meeting point for local and transnational philanthropy, the framing of pan-regional discourses of Latin Americanism, and the aesthetics and desires of high modernity.
Herrera’s co-edited volume Experimentalisms in Practice: Music Perspectives from Latin America (Oxford University Press, 2018) discusses a wide variety of artistic and musical traditions from Latin America, the Caribbean, and Latinos/as in the United States, conceived and/or perceived as experimental.
Herrera is currently working in two book projects. The first, titled Sounding Fandom: Chanting, Masculinity, and Violence in Argentine Soccer Stadiums, studies collective chanting in Argentine soccer stadiums. Mixing ethnography and semiotics, Herrera pays attention to the way that moving- and sounding-in-synchrony frames the interpretation of symbolic and physical violence. Drawing on the performative theories of public assemblies, and informed by research on affect and emotion this work argues that chanting brings together sounds and bodies in a public affective practice that, through repetition, contributes to the construction of masculinities that are heteronormative, homophobic, and aggressive, often generating a cognitive dissonance with the individual beliefs of many of the fans.
The second, Soccer Sounds: Transnational Stories of the Beautiful Game, narrates different moments in the history of soccer in which sound has been a central player. The book includes chapters on the racialized listening of the vuvuzela during the South African World Cup; the chant for equal pay by the fans of the US Women’s National Soccer Team, the increased antisemitism demonstrated through chants by fans of the Dutch team Ajax, the British Tottenham Hotspurs, the German Bayern Munich, and the Italian Roma; the participation of fans of the soccer club Al Ahly during the 18 days of protests that led to the deposition of Egyptian president Hosni Mubarak; and the negotiations between FIFA, fans, media broadcasters, and the Mexican Men’s National Soccer Team surrounding a homophobic chant.
His work can be found in the Journal for the Society of American Music, Latin American Music Review, American Music. Herrera’s article in Ethnomusicology, “Masculinity, Violence, and Deindividuation” was awarded the honorable mention of the Marcia Herndon Prize for studies on gender and sexuality at the Society for Ethnomusicology.