Resonancias: Revista de investigación musical

ISSN 0719 - 5702 (en línea); ISSN 0717 - 3474 (impresa)

N°40 /

Junio 2017

Portada 40

Editorial

Editorial nº 40

By Alejandro Vera 

Instituto de Música, Pontificia Universidad Católica de Chile
averaa@uc.cl
 
Resonancias vol. 21, n° 40, enero-junio 2017, pp. 9-11. 
DOI: https://doi.org/10.7764/res.2017.40.1
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Article

Canto, liturgia, ceremonial y culto en América Latina según la Recopilación de Leyes de los Reynos de Indias

By Dr. David Andrés Fernández

Instituto de Acústica, Universidad Austral de Chile / Facultad de Educación de Albacete, Universidad de Castilla-La Mancha
david.andres@uclm.es
Resumen

La mayoría de las fuentes normativas para el estudio de la música litúrgica en los templos católicos de América Latina ha sido ya revisada, pero todavía se pueden encontrar algunas de ellas, entre las que se cuenta la Recopilación de Leyes de Indias de 1680, que no han sido examinadas sistemáticamente en busca de noticias sobre ese tema. El presente texto muestra los resultados de un análisis exhaustivo de esa Recopilación emanada de la autoridad secular, con el fin de complementar los trabajos existentes acerca del canto, la liturgia, el ceremonial y el culto divino en las iglesias del Nuevo Mundo. Tales resultados manifiestan los conflictos de competencias entre las autoridades civiles y eclesiásticas que caracterizan a la sociedad del Antiguo Régimen, y confirman la existencia de una insistente voluntad para lograr la uniformización de las formas del culto religioso según las prácticas enraizadas en la Península. Debido a ello, también muestran cómo esa voluntad alcanzó la intensidad suficiente como para descender hasta aspectos minuciosos que normalmente, de llegar a aparecer, solo se explicitan en las fuentes eclesiásticas, lo que ayuda a comprender mejor el entorno en el que se desarrollaba la música litúrgica.

derecho indiano - música - ceremonia - oficio divino - misa - procesiones

 

Chant, liturgy, ceremonial and divine worship in Latin America according to the Recopilación de Leyes de los Reynos de Indias

Abstract

Most of the legislative sources for the study of liturgical music in Catholic churches in Latin America have already been explored. However, some of them, like the Compilation of Laws of the Indies of 1680, have not been systematically examined in search of new material on the subject. The present article shows the results of an exhaustive analysis of this compilation emanated from the Spanish secular authority in order to update and complement previous work on the chant, liturgy, ceremonial and divine worship in the sixteenth and seventeenth centuries in the New World. These results demonstrate conflicts of competence between the civil and ecclesiastical authorities that characterized the society of the Old Regime, and confirm the existence of a determination to achieve the uniformity within the forms of religious worship according to the practices rooted in the Peninsula. Because of this, the documents also show many specific details which are normally only found in ecclesiastical sources. This intensity of purpose and explication shown in the documents helps one to understand the environment in which liturgical music was developed.

Laws of the Indies - Music - Ceremony - Divine office - Mass - Processions

Resonancias vol. 21, n° 40, enero-junio 2017, pp. 13-32. 
DOI: https://doi.org/10.7764/res.2017.40.2
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Article

Siluetas en la oscuridad: el maestro de capilla Cayetano Rodríguez (Arequipa, Perú, Siglo XVIII). Ejemplo del uso de las fuentes no musicales en la reconstrucción de la historia de la música colonial de Sudamérica

By Zoila Vega Salvatierra

Departamento Académico de Artes, Universidad Nacional de San Agustín de Arequipa
zoelvesa@hotmail.com
Resumen

En el siglo XVIII en Sudamérica existieron capillas musicales activas en cabezas de provincias que tal vez establecieron relaciones con otras ciudades de frontera o de otros reinos a través de músicos que se asentaron lejos de sus lugares de origen e influenciaron en forma permanente el trabajo musical en sus nuevas sedes laborales. En muchos casos, se ha perdido la evidencia de su producción musical en tales sedes debido a incendios, guerras o a circunstancias particulares de cada archivo catedralicio, por lo que hasta ahora dichas personalidades y su labor dentro de las capillas han permanecido sumergidas en la oscuridad. ¿Es posible reconstruir, aun sin música escrita, el desempeño de estos músicos y establecer derroteros para estudiar su contribución al desarrollo de sus respectivas instituciones? ¿Podrían establecerse, al menos tentativamente, circuitos de intercambio o de influencia entre ciudades de provincia o capitales sudamericanas estudiando estos ejemplos? Para intentar responder estas preguntas, presentamos el caso de Cayetano Rodríguez, maestro de capilla de la catedral de Arequipa, Perú, entre 1765 y 1808 de quien no ha quedado ninguna obra escrita pero que bien pudo tener una gravitante influencia en músicos peruanos del período inmediatamente posterior como Pedro Ximénez, Mariano Tapia y Lorenzo Rojas.

Arequipa - Música en catedrales sudamericanas - Maestro de capilla

 

Silhouettes in the dark: Chapelmaster Cayetano Rodríguez (Arequipa, Peru,18th century). Example of the use of non-musical sources in the reconstruction of the history of colonial music in South America

Abstract

In the 18th century in South America there were active musical chapels in provinces that perhaps established relations with other border cities or other kingdoms through musicians who settled far from their hometowns and influenced permanently the musical activities in their new work sites. In many cases, the evidence of their musical production in such venues has been lost due to fires, wars or particular circumstances of each cathedral archive, and thus, so far, these personalities and their work within the chapels have remained submerged in the dark. Is it possible to rebuild, even without written music, the performance of these musicians and establish ways to study their contribution to the development of their respective institutions? Could exchange or influence circuits among provincial towns or South American capitals be established, at least tentatively, by studying these examples? To try to answer these questions, we present the case of Cayetano Rodríguez, chapelmaster of the Cathedral of Arequipa, Peru, between 1765 and 1808 of whom no written work is left, but could well have had a gravitating influence on Peruvian musicians of the immediate aftermath as Pedro Ximénez, Mariano Tapia and Lorenzo Rojas.

Arequipa - Music in South American cathedrals - Chapelmaster

Resonancias vol. 21, n° 40, enero-junio 2017, pp. 33-46.
DOI: https://doi.org/10.7764/res.2017.40.3
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Article

El cultivo de la música docta en Chile como una práctica histórico-social. La comunicación, circulación y recepción de tres obras sinfónicas pioneras en dos espacios institucionales: 1918-1923 y 1928-1950

By Luis Merino Montero

Facultad de Artes, Universidad de Chile
lmerino@u.uchile.cl
Resumen

El propósito de este artículo es la discusión de dos obras sinfónicas pioneras de Enrique Soro Barriga (1884-1954) (Gran Concierto en Re mayor para piano y orquesta, 1918; y Gran Sinfonía Romántica en La mayor, 1921) y una de Luigi Stefano Giarda Guidice (1868-1952) (Más allá de la muerte, poema sinfónico op. 131, 1922), en términos de su comunicación, circulación y recepción en dos períodos consecutivos de la historia de la música chilena, que cubren los años 1918-1923 y 1928-1950, respectivamente, dentro de los marcos de la institucionalidad musical y el ejercicio correspondiente del poder. Esto como una propuesta metodológica para abordar la música docta como una práctica histórico-social.

música docta chilena - comunicación de la música - circulación de la música - recepción de la música - instituciones

 

Chilean Art Music as a Historical and Social Practice. The Communication, Circulation and Reception of Three Pioneer Symphonic Works within Two Institutional Frameworks: 1918-1923 y 1928-1950

Abstract

The purpose of this article is the discussion of two pioneer orchestral works written by Enrique Soro (1884-1954) (Grand Concerto in D major for piano and orchestra, 1918; and Grand Romantic Symphony in A major, 1921) and one by Luigi Stefano Giarda (1868-1952) (Beyond Death, symphonic poem, op. 131, 1922), in terms of their communication, circulation and reception during two consecutive periods of the history of Chilean music, spanning between 1918-1923 and 1928-1950, within the framework of power as handled by music institutions. This amounts to a methodological proposal to study art music both as a historical and a social practice.

Chilean art music - communication of music - circulation of music - music reception - institutions

Resonancias vol. 21, n° 40, enero-junio 2017, pp. 47-70. 
DOI: https://doi.org/10.7764/res.2017.40.4
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Article

Modernismo e internacionalismo como programa: o compositor Fernando Lopes-Graça e a sociedade de concertos Sonata (Lisboa, 1942-1960)

By Teresa Cascudo

Área de Música, Departamento de Ciencias Humanas, Universidad de La Rioja
teresa.cascudo@unirioja.es
Resumen

Durante o século XX, não foram infrequentes as organizações musicais que respondiam às seguintes características: estarem dirigidas por compositores, dedicarem-se à produção e programação de concertos preenchidos por novas obras e terem uma dimensão local. Entre 1942 e 1960, Lisboa contou com uma organização que apresentava as características mencionadas: a sociedade Sonata, fundada pelo compositor Fernando Lopes-Graça (1906-1994), uma figura fundamental para a história da música erudita em Portugal. A relevância da Sonata tem, de facto, muito a ver com a importância que Lopes-Graça tem para a história cultural portuguesa, mas prende-se sobretudo com a atividade que desenvolveu durante perto de duas décadas. Neste artigo, debruçar-me-ei em primeiro lugar sobre o papel que Lopes-Graça teve na definição das linhas programáticas da Sonata e, em particular, sobre a forma como determinadas ideias sobre o moderno em música, desenvolvidas por Lopes-Graça nas suas colaborações jornalísticas, se plasmaram na orientação dada a esta organização musical. Centrar-me-ei ainda num outro aspecto. Refiro-me ao esforço desenvolvido por estabelecer vínculos internacionais. Estudo em particular a passagem da Sonata pela Sociedade Internacional de Música Contemporânea (SIMC). Utilizo como fonte primaria principal o arquivo administrativo da sociedade, conservado na Academia de Amadores de Música, em Lisboa. Como apéndice, o artigo proporciona o listado do repertório completo interpretado nos concertos da Sonata em Lisboa.

Fernando Lopes-Graça - Sonata (sociedade de concertos) - modernismo - internacionalismo - programação musical

 

Modernism and internationalism as program: the composer Fernando Lopes-Graça and the concert society Sonata (Lisbon, 1942-1960)

Abstract

During the twentieth century, it was not uncommon to find musical organizations that responded to the following characteristics: to be directed by composers, to be focused on the production and programming of concerts dedicated to new works, and having a local dimension. Between 1942 and 1960, Lisbon had an organization that presented these characteristics: the Sonata society, founded by the composer Fernando Lopes-Graça (1906-1994), a fundamental figure for the history of classical music in Portugal. The relevance of Sonata has, in fact, much to do with the importance that Lopes-Graça has for Portuguese cultural history, but it is mainly related to the activity that the society developed during nearly two decades. In this article, based in the administrative archive of the society, I first look at Lopes-Graça's role in defining the Sonata programmatic lines. In particular, I analyze how certain ideas about the modern in music, developed by Lopes-Graça in his journalistic collaborations, shaped the orientation given to this musical organization. Secondly, I will focus on another aspect. I am referring to the effort made by Lopes-Graça to establish international ties. I will study in particular the passage of Sonata at the International Society of Contemporary Music (ISMC. An appendix provides the complete repertoire performed by Sonata in Lisbon.

Fernando Lopes-Graça - Sonata (concert society) - modernism - internacionalism - concert programming

Resonancias vol. 21, n° 40, enero-junio 2017, pp. 71-100.
DOI: https://doi.org/10.7764/res.2017.40.5
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Article

Brasil, anos 1970: um estudo sobre o Instituto Nacional de Música da Funarte

By Clayton Vetromilla

Instituto Villa-Lobos, Universidade Federal do Estado do Rio de Janeiro
cvetromilla@gmail.com
Resumen

O presente artigo se insere em uma pesquisa que objetiva formular uma visão atualizada a respeito do papel desempenhado pela Funarte no campo da música brasileira, durante os anos 1970. Depois de reunir comentários da crítica a respeito da atuação do órgão, visamos articular a ação do Instituto Nacional de Música com o discurso de construção identitária preconizado pelo Governo Militar. Através de levantamento bibliográfico, de pesquisa no acervo do Centro de Documentação da Funarte e da consulta de periódicos da época, verificamos que, em linhas gerais, buscou-se consolidar a produção pré-existente, contemplando aspectos de ordem musicológica e pedagógica assim como também projetando certas correntes musicais que passaram a ser consideradas como expressão legítima e autêntica da cultura nacional. Pudemos concluir que, no período, os interesses do Estado em relação à Funarte estavam em correlação direta com os benefícios indiretos que a Cultura, a Arte e, em particular a Música brasileira lhe propiciava.

Brasil - Instituto Nacional de Música - Funarte - Política cultural - Anos 1970

 

Brasil, the 1970’s: a study on Funarte’s National Institute of Music

Abstract

This paper is part of a research aimed at formulating a critically updated view on the role played by Funarte in the field of Brazilian music during the 70’s. After collecting some critics’ comments about the organization, we focused on articulating the action of the National Institute of Music with the discourse of identity construction preconized by the Military Government. By tracing the bibliography, researching the documents of the Centre of Documentation of Funarte and consulting the periodicals of that time, we verified that there was an attention to consolidate the pre-existent musical production, contemplating aspects of the musicological and pedagogical order, as well as to project certain musical tendencies that began to be considered as an authentic and legitimate expression of national culture. After doing all the research mentioned above, we were able to conclude that, at that specific period, the interests of the state in relation to Funarte, were in direct correlation with the indirect benefits that Culture, Art, and Music in particular, could provide.

Brazil - The National Institute for Music - Funarte - Cultural policy - The 1970’s

Resonancias vol. 21, n° 40, enero-junio 2017, pp. 111-128.
DOI: https://doi.org/10.7764/res.2017.40.6
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Article

Estado y organizaciones musicales en las configuraciones emergentes en los años 2000 en Argentina

By Ornela Boix

Instituto de Investigaciones en Humanidades y Ciencias Sociales, CONICET, FaHCE/Universidad Nacional de La Plata
ornelaboix@gmail.com
Resumen

El presente artículo aborda una forma específica de encuentro entre la música emergente asociada al rock de la zona metropolitana de Buenos Aires (Argentina) y las instituciones estatales durante el período 2009-2015, como parte de la emergencia de formas de organización musical que constituyen una nueva institucionalización. Revisa críticamente las investigaciones que han abordado, en los últimos lustros, la relación entre rock y política. Asimismo, describe etnográficamente una trama de relación entre proyectos musicales y una política pública dependiente del Ministerio de Cultura de la Nación. De esta manera, se encuentra que el vínculo de los músicos con el Estado adquiere una nueva implantación y legitimidad, en comparación con la relación negativa y exterior planteada en la literatura consultada. En base a ello, el artículo argumenta la necesidad de otorgarle una positividad al vínculo de la música con el Estado, a fin de mejorar la comprensión de los fenómenos musicales contemporáneos.

rock - Estado - institucionalización musical emergente - mediación musical - etnografía

 

State and music organizations in emergent configurations in the 2000s in Argentina

Abstract

This article tackles a specific way in which emergent music linked to the rock scene in Greater Buenos Aires (Argentina) met with State institutions during the 2009-2015 period, as part of the emergence of organizational forms in music which take part in a new form of institutionalization. It critically reviews the research that have dealt with the relationship between rock and politics in the last decades. Furthermore, it ethnographically describes the interwoven fabric between musical projects and public policy stemming from the National Ministry of Culture. Its findings show that, within this fabric, the linkage between musicians and the State was implanted in a new way and acquired a different legitimacy when compared to the negative and external relationship described in the revised literature. Based on this, the article argues for the need to grant positivity to the linkage between music and the State in order to improve the comprehension of contemporary music phenomena.

rock - State - emergent institutionalization of music - music mediation - ethnography

Resonancias vol. 21, n° 40, enero-junio 2017, pp. 129-144.
DOI: https://doi.org/10.7764/res.2017.40.7
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Document

Resonancias, una publicación del Instituto de Música

By Alejandro Guarello Finlay

Instituto de Música, Pontificia Universidad Católica de Chile
aguarell@uc.cl
Resonancias vol. 21, n° 40, enero-junio 2017, pp. 145-147.
DOI: https://doi.org/10.7764/res.2017.40.8
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Document

Revista Resonancias. Una mirada retrospectiva a la producción publicada entre 1997 y 2012

By Carmen Peña Fuenzalida

Instituto de Música, Pontificia Universidad Católica de Chile
cpenaf@uc.cl
Resonancias vol. 21, n° 40, enero-junio 2017, pp. 149-166.
DOI: https://doi.org/10.7764/res.2017.40.9
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Document

Resonancias: la etapa en curso

By Alejandro Vera

Instituto de Música, Pontificia Universidad Católica de Chile
averaa@uc.cl

Leonora López

Instituto de Música, Pontificia Universidad Católica de Chile
lllopez@uc.cl
Resonancias vol. 21, n° 40, enero-junio 2017, pp. 167-179.
DOI: https://doi.org/10.7764/res.2017.40.10
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Review

Gabriel Gálvez. 2016. Arte menor. La Serena: Fondo para el Fomento de la Música Nacional.

By Laura Jordán González

Instituto de Estética, Pontificia Universidad Católica de Chile
lfjordan@uc.cl
Resonancias vol. 21, n° 40, enero-junio 2017, pp. 181-184. 
DOI: https://doi.org/10.7764/res.2017.40.11
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Review

Michel Bert (guitarra). 2016. La Chitarra Italiana. 1900-1941. Brugherio (Milán): Sinfonica Edizioni Musicale (SCD-022).

By Mauricio Valdebenito Cifuentes

Facultad de Artes, Universidad de Chile
mvalde67@gmail.com
Resonancias vol. 21, n° 40, enero-junio 2017, pp. 185-186. 
DOI: https://doi.org/10.7764/res.2017.40.12
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Authors

Autores nº 40 (sección “Artículos”)

 

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