Editorial

Editorial nº 42

By Alejandro Vera

Instituto de Música, Pontificia Universidad Católica de Chile

averaa@uc.cl

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Article

Modelos sociolinguísticos enquanto alternativa metodológica possível em face da crise do Positivismo na Musicologia: um olhar voltado à produção e às práticas musicais do catolicismo romano no Brasil

By Fernando Lacerda Simões Duarte

Programa de Pós-Graduação em Artes / Universidade Federal do Pará, PNPD / CAPES

lacerda.lacerda@yahoo.com.br

Resumen

O presente trabalho enfoca a aplicabilidade de ferramentas teóricas provenientes da Sociolinguística ao estudo das práticas musicais. Os conceitos de diglossia e bilinguismo cultural, bem como a adaptação das noções de línguas pidgin e crioula são discutidos a partir da análise da música religiosa católica, especialmente entre fins do século XIX e inícios do XXI. Questiona-se de que modo elementos autóctones somaram-se às matrizes musicais europeias em solo brasileiro e se expressam na produção e nas práticas musicais, constituindo repertórios    pidgin ou crioulos. Os dados foram obtidos a partir dos procedimentos bibliográfico e documental. Sua análise se dá a partir das noções referidas anteriormente, constantes dos trabalhos de Burke, Martiny e Menoncin, Ferguson, Lucchesi e Garcia, além de uma abordagem sociológica baseada em sistemas sociais, de Niklas Luhmann e de uma contextualização da crise do positivismo na musicologia em Kerman, Ikeda e Volpe. Os resultados apontam para uma ampliação da compreensão dos fenômenos musicais possibilitada pela aplicação dos referenciais teóricos da sociolinguística. O chamado repertório restaurista católico revela uma aproximação das línguas de contato pidgin, por sua duração relativamente curta nas práticas musicais, ao passo que os cânticos espirituais se revelam repertório crioulo, pois são correntes até hoje.

Hibridismo cultural - Modelos sociolinguísticos - Música religiosa – Igreja Católica - Restauração musical católica - Música litúrgica autóctone

Sociolinguistic models as a possible methodological alternative in the face of the crisis of Positivism in Musicology: a look at the production and musical practices of Roman Catholicism in Brazil

Abstract

This paper focuses on the applicability of theoretical tools from Sociolinguistics to the study of musical practices. The concepts of diglossia and cultural bilingualism, as well as the adaptation of the notions of pidgin and creole languages are discussed from the analysis of Catholic religious music, especially from the late 19th to the early 21st century. It is questioned how autochthonous elements were added to the European musical matrices in Brazilian soil and are expressed in the production and in the musical practices, constituting Pidgin or Creole repertoires. Data were obtained from bibliographic and documentary procedures. Their analysis is based on the notions mentioned above, present in the works of Burke, Martiny and Menoncin, Ferguson, Lucchesi and Garcia, as well as a sociological approach based on social systems by Niklas Luhmann and a contextualization of the crisis of positivism in musicology in Kerman, Ikeda and Volpe. Results point to an enlargement of the understanding of musical phenomena made possible by the application of sociolinguistic theoretical references. The so-called catholic restorative repertoire reveals an approximation of the pidgin contact languages, for their relatively short duration in musical practices, while the spiritual songs reveal themselves as creole repertoire, since they are current until today.

Cultural hybridity - Sociolinguistic models - Religious music – Catholic Church - Catholic music restoration - Autochthonous liturgical music

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Article

La crisis de 1890. Divisoria de dos modelos antagónicos de educación musical en la Argentina

By Manuel Massone

Departamento de Artes Musicales y Sonoras “Carlos López Buchardo”, Universidad Nacional de las Artes

manuelmassone@hotmail.com

Por Oscar Olmello

Departamento de Artes Musicales y Sonoras “Carlos López Buchardo”, Universidad Nacional de las Artes

oscar.olmello@gmail.com

Resumen

La Argentina decimonónica ambienta la rivalidad de dos modelos antagónicos de formación profesional del músico. Actúa catalizando esa pugna la crisis económica de 1890 y su consecuente conmoción política, la Revolución del Parque.Demostraremos que, como secuela del trance, el Estado se desentiende por más de treinta años de la educación musical, lo que provoca la desaparición del Conservatorio Nacional fundado en 1888, institución ignorada por la bibliografía hasta la reciente publicación de documentos presidenciales y ministeriales inéditos.Influye decisivamente en estos acontecimientos Alberto Williams, quien, gracias a sus cualidades de emprendedor y sus influencias políticas, reemplaza con la institución por él fundada las funciones del desaparecido conservatorio de gestión estatal. Pero además impone su modelo de enseñanza musical que, al privilegiar la educación de compositores e intérpretes resulta opuesto al que impulsó Juan Gutiérrez, materializado en el conservatorio de 1888 bajo su dirección, que tendía a formar maestras de solfeo para las escuelas primarias y normales. La fundación definitiva del Conservatorio Nacional, en 1924, y la de otras instituciones oficiales revierten esta situación hasta provocar la casi desaparición de las instituciones privadas.

conservatorio - solfeo - música vocal - revolución - docentes - escuela - Estado

The 1890 crisis. Dividing line between two opposing models of music education in Argentina

Abstract

Two opposite models of music education were set in Argentina during the 19th century. In 1890, an economic crisis unleashes a political and military uprising known as “Revolution of the Park”. We shall demonstrate how, as a consequence of this crisis, the National State avoided subsidizing music education for the next thirty years causing the dissolution of the National Conservatory founded in 1888, an institution ignored and disregarded in the bibliography until the recent publication of presidential documents. At the same time an antagonistic project based on private profit-making institutions was established. Alberto Williams´ viewpoint oriented towards educating only composers and performers was not absent from that situation. Williams, with his entrepreneurial skills and political influences, could hold his conservatoire as an opposite model to the one that Juan Gutiérrez and the Nation State embodied in the National Conservatory established in 1888 oriented to train music teachers in vocal music and solfège for elementary and high school education. This institution was a pioneer of a paradigm that was going to be successfully established in 1924 with the definitive foundation of the National Conservatory of Music and other official music schools, leading to the decline of private musical institutions.

conservatoire - solfège - vocal music - revolution - teachers - school - State

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Article

Músicos como trabajadores. Estudio de caso de la Sociedad Musical de Socorros Mutuos de Valparaíso (1893-1930)

By Eileen Karmy

University of Glasgow, School of Culture and Creative Arts, Music

ekarmyb@gmail.com

Por Cristian Molina

Proyecto Memoria Musical de Valparaíso

francanapa@gmail.com

Resumen

A partir del análisis de la Sociedad Musical de Socorros Mutuos de Valparaíso (SMSMV), este artículo propone incorporar la perspectiva del trabajo a los estudios musicales, entendiendo de esta forma a los músicos como trabajadores que en ciertos momentos de la historia se han organizado para mejorar sus condiciones de vida y laborales. Esto implica comprender la música en su múltiple dimensión musical, histórica, económica y social.
Este artículo propone una breve reconstrucción socio-histórica de la trayectoria de esta Sociedad de músicos, pero también, al mirarla a través del prisma del músico como trabajador, plantea que esta organización jugó un rol importante tanto en la educación y provisión de músicos para las industrias musicales como en el desarrollo del movimiento obrero de la época. 
A partir del caso de estudio de los músicos-trabajadores y organizados de Valparaíso de fines del siglo XIX e inicios del XX, buscamos responder cómo estos músicos se definieron a sí mismos, y por qué crearon y se congregaron en una organización como esta; cómo sus prácticas laborales afectaron el modo en que se organizaron; y, por último, qué tan involucrados estuvieron con el movimiento mutualista del que fueron parte.

organización - música y trabajo - Valparaíso - mutualismo

Musicians as workers. A case study of the Musicians’ Mutual Aid Society of Valparaíso (1893-1930)

Abstract

From the analysis of the Musicians’ Mutual Aid Society of Valparaíso (or SMSMV) this article proposes to include the perspective of labour to music studies, understanding musicians as workers that have gathered in organisations to better their life or working conditions. This also means to understand music in its multiple dimension, including musical, historic, economic and social. 
This article proposes a brief reconstruction of the history of this Society of musicians, but, by analysing it through the prism of musicians as workers, it argues, at the same time, that this organisation played a key role towards the education and provision of musicians for the music industries and in the development of the labour movement of the time. 
From the case study of the working and organised musicians of Valparaíso from the late 19th and early 20th centuries, this article seeks to answer how these musicians defined themselves; why they created and organisation like this one; how their work affected the way they organised themselves; and to what extent they were linked to the mutualist movement.

social organization - music and work - Valparaíso - mutualism

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La crisis institucional de la Universidad de Chile y la circulación, preservación, recepción y valoración de la música sinfónica de los compositores chilenos: una propuesta teórico-metodológica

By Luis Merino Montero

Facultad de Artes, Universidad de Chile

lmerino@uchile.cl

Por Julio Garrido Letelier

Facultad de Artes, Universidad de Chile

julio.garrido.l@uchile.cl

Resumen

Se propone un modelo teórico-metodológico que se estructura en tres áreas de estudio: el perfil institucional general, el perfil institucional musical y el juicio evaluativo. Sobre esta base se analiza el proceso de permanencia y cambio de la circulación, preservación, recepción y valoración de 32 obras sinfónicas compuestas entre 1922 y 1952 por los compositores chilenos Próspero Bisquertt Prado (1881-1959), Domingo Santa Cruz Wilson (1899-1987), Jorge Urrutia Blondel (1903-1981) y René Amengual Astaburuaga (1911-1954). Se toman como referencia dos paradigmas para el análisis: el monoinstitucional, que corresponde al período de supremacía de la Universidad de Chile hasta los inicios de la década de 1970, y el multiinstitucional, que toma en consideración la importancia creciente que, a contar de las décadas de 1970 y 1980, cobran en el cultivo de la música en Chile otras universidades estatales y privadas e instituciones artísticas. Se identifica un período de crisis de la Universidad de Chile hacia fines de la década de 1970, como resultado de los cambios profundos que producen en su interior las medidas impuestas por la Dictadura Militar con posterioridad a 1973.

Universidad de Chile - crisis - música sinfónica nacional - Instituto de Extensión Musical

The Institutional Crisis of the University of Chile as pertaining to the Circulation, Preservation, Reception and Valuation of Chilean Symphonic Music: A Theoretical and Methodological Proposal

Abstract

A theoretical and methodological model is proposed. It is made up of three areas of study –the general institutional profile, the musical institutional profile and the evaluating judgment. On this basis, the process of permanency and change of 32 symphonic works is analyzed, in terms of their circulation, preservation, reception and valuation. These works were written between 1922 and 1952 by the Chilean composers Próspero Bisquertt (1881-1959), Domingo Santa Cruz (1899-1987), Jorge Urrutia (1903-1981), and René Amengual (1911-1954). Two paradigms are taken as a reference for the analysis –the mono-institutional and the multi-institutional. The first one is related to the period of supremacy of the University of Chile upto the beginnings of the 1970’s. The second one considers the growing importance that, starting in the 1970’s and 1980’s, other state and private universities along with other artistic institutions take in terms of sponsoring the musical activity in Chile. A period of crisis of the University of Chile is identified, starting in the late 1970’s because of the drastic changes imposed by the military dictatorship after 1973.

University of Chile - crisis - Chilean symphonic music - Instituto de Extensión Musical

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Article

Challenging the Listener: How to Change Trends in Classical Music Programming

By Miguel Ángel Marín

University of La Rioja / Juan March Foundation (Spain)

miguel-angel.marin@unirioja.es

Resumen

This article aims to provide the first large-scale description of current trends in classical music programming. The purpose is to analyze an issue commonly associated with the critical state of concert venues today, which is to say, the predominantly conservative aesthetic of performed repertoires. This paper attempts to go further than previous studies by looking at a larger group of repertoires and institutions, examining data from some 4,700 concerts performed between 2010 and 2015, randomly gathered by the database www.bachtrack.com. No other source in this field enjoys its sheer size and wide variety. 
The first section demonstrates that an extremely small handful of composers dominate the musical landscape, and that patterns of association between programmed composers within individual concerts are highly predictable. Against this problematic backdrop, the second section proposes possible remedies to balance this disproportionate concentration of specific styles, composers, and associations by focusing as a case study on the innovative music program at the Juan March Foundation in Madrid. The overall results are both original and valuable, as they reveal otherwise undetected trends in music programming, while providing practical strategies to re-engage audiences and encourage different cultural policies at concert halls.

concert - programming - repertoire - audience - concert format - listening experience

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Paisajes sonoros reales e imaginarios

By Felipe Otondo

Instituto de Acústica, Universidad Austral de Chile

felipe.otondo@uach.cl

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La ciudad como fuente de sonidos para la creación sonora

By M.M. Otto Castro Solano

Doctorante del programa de Tecnología musical de la Universidad Nacional Autónoma de México

ottoalexander.castro@ucr.ac.cr

Resumen

Los pioneros del paisaje sonoro trataron con precaución y cautela los sonidos de la ciudad, subrayando en varios artículos su compromiso con la conciencia auditiva dentro de la urbe. Han pasado varias décadas desde el planteamiento del paisaje sonoro y es conveniente volver a revisar algunos conceptos propuestos por estos pioneros con el fin de valorar una metodología artística que escuche los sonidos de la ciudad de una manera más cercana al ámbito de la creación sonora.

ciudad - composición - escucha - paisaje sonoro urbano

The city as a source of sounds for the sound creation

Abstract

The soundscape pioneers treated the sounds of the city with caution, emphasizing in their work their commitment to an auditory conscience within the city. Several decades have passed since this approach and it seems convenient to review some of the concepts initially proposed by these pioneers to assess an artistic methodology that listens to the city in a more meaningful way that is closer to the field of sound creation.

city - composition - listening - urban soundscape

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Memorias sonoras que acumula el cuerpo al viajar por debajo de la tierra

By Ximena Alarcón

RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion Department of Musicology, University of Oslo

x.a.diaz@imv.uio.no

Resumen

A partir de las memorias sonoras de los pasajeros del transporte público subterráneo en Londres, México y París, creé el sitio interactivo en internet Sounding Underground. Esta interfaz articula estructural y aleatoriamente la esencia de una memoria sónica subterránea. Partiendo de la propuesta de Pauline Oliveros de escuchar profundamente como una práctica que incluye todas las sensaciones corporales, he considerado los sistemas físicos de transporte subterráneo y el entorno sonoro virtual que he creado, como “utopías” y “heterotopías” del sueño humano de movilidad. En este documento, sugiero que Sounding Underground actúa como una interfaz incorpórea que transforma potencialmente la memoria corporal, involucrando sentimientos asociados a lo “sublime”, como un legado de la Revolución Industrial.

espacio sonoro interactivo en red - metro subterráneo - memoria corporal - escucha profunda - movilidad

Embodied Sonic Memories of Commuting Underground

Abstract

From commuters’ listening memories of underground public transportation in London, Mexico and Paris, I created the online interactive environment Sounding Underground. This interface structurally and randomly articulates the essence of an underground sonic memory. Departing from Pauline Oliveros’ perspective of listening deeply as an embodied practice, I have considered both the physical underground transportation systems and the created virtual sonic environment as “utopias” and “heterotopias”, from the human dream of mobility. In this paper, I am suggesting that Sounding Underground acts as a disembodied interface that potentially transforms body memories, involving “sublimity”, left as a legacy of Industrial Revolution.

online sonic environment - underground - embodiment - memories - deep listening - mobility

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Review

Breve reseña del IX Congreso Chileno de Musicología

By Alejandro Vera

Instituto de Música, Pontificia Universidad Católica de Chile

averaa@uc.cl

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Review

Delgado, Julián. 2017. Tu tiempo es hoy. Una historia de Almendra. Buenos Aires: Eterna Cadencia.

By David Orjuela

Universidad de Buenos Aires

davidorjuela19@gmail.com

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Authors

Autores nº 42 (sección "Artículos")

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