This chapter considers the ritual laws in the latter part of Exodus and throughout much of Leviticus and Numbers, which cover sacrificial activities, consecration of and rules for priests, permitted/forbidden foods, matters of purity, religious festivals, types of sins, the handling and disposal of blood, and vows and donations to the cult of Yahweh.

This chapter looks at potential sources that can account for the provisions in the biblical law collections such as previous legal collections, practical legal documents (e.g., contracts), and fictional court cases. Some biblical laws may have originated as stand-alone fictional court cases, akin to the Mesopotamian legal-pedagogical genre of model cases.

Sociologist and dance practitioner Christophe Apprill provides a solid historical overview of tango dance. He then explores gender relations and roles in tango by examining tango stereotypes in relation to tango dance, while opening new perspectives on contemporary dimensions of globalized tango scenes.

Link and Wendland introduce the Cambridge Companion to Music by describing the art form’s multicultural orgins and its stereotypical associations; summarize the state of tango research to date; and provide brief overviews of the twenty book chapters.

Wendland and Link discuss post–Golden Age tango by comparing the life and works of its two great pillars: Horacio Salgán (1916–2016) and Astor Piazzolla (1921–1992). They offer insight into how these tangueros traveled on two distinct paths both in the trajectory of their careers and the development of their styles, and how they shaped the next generation into the twenty-first century.

Scholar and guitarist Eric Johns traces the historical and stylistic lineage contemporary of tango guitar performance practice. He highlights two important schools of playing established by Aníbal Arias (1922–2010) and Roberto Grela (1913–1992).

Ignacio Varchausky examines tango music through its standard instrumental performance practices. He draws on the orchestral styles of two Golden Age orchestras, those of Juan D’Arienzo (1934–1975) and Aníbal Troilo (1937–1975), and illustrates with important archival recordings and scores from the tango repertory. He explains musical techniques and practices that may provide a listener with sounds of tango’s history, and how musically embodying the art form may advance one’s understanding of its culture.

Romina Dezillio considers female tango singers’ artistic and social contributions to the professionalization of women within the national and international tango scene. Her study of the consolidation process of the tango cancionista (female tango singer) during the 1930s in Argentina reveals gender-based relationships between the tango canción and Argentine society as she highlights the personal styles and careers of three star cancionistas: Rosita Quiroga (1896–1984), Azucena Maizani (1902–1970), and Libertad Lamarque (1908–2000).

Paulina L. Alberto uses original research about a multigeneration family of Black musicians to illustrate different stages of musical experimentation that fed into tango. In doing so, she sheds new light on the relationship between the Afro-Argentine musical and dance tradition of candombes and early tango, and she challenges the entrenched racial narrative of Afro-Argentine “disappearance” over the course of the nineteenth century.