Editorial

Editorial nº 39

By Alejandro Vera 

Instituto de Música, Pontificia Universidad Católica de Chile

averaa@uc.cl

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Article

Música en la Catedral de Lima en tiempos del arzobispo Mogrovejo (1581-1606):Gutierre Fernández Hidalgo, la Consueta de 1593, la participación indígena

By María Gembero-Ustárroz

CSIC, Institución Milá y Fontanals, Barcelona

mgembero@imf.csic.es

Resumen

Aproximación a tres aspectos de la actividad musical religiosa en Lima y su entorno durante el arzobispado de fray Toribio de Mogrovejo (1581-1606): 1) labor de Gutierre Fernández Hidalgo en Lima, donde fue maestro de capilla de la Catedral y escribió libros de música para esa iglesia y para el monasterio femenino de La Encarnación (ca. 1590-1591); 2) Consueta de 1593, recopilada por iniciativa de Mogrovejo; y 3) participación de indígenas en ceremonias católicas, con particular atención a las actuaciones de ministriles indios en la Catedral de Lima y a misas cantadas fundadas por caciques indígenas en zonas rurales del arzobispado de Lima. El artículo emplea fuentes inéditas conservadas en el Archivo General de Indias de Sevilla y en el Archivo del Cabildo Metropolitano de Lima. Se incluyen cuatro Apéndices: 1) datos biográficos sobre Gutierre Fernández Hidalgo; 2) selección de aspectos musicales en la Consueta de 1593 para la Catedral de Lima; 3) algunas funciones litúrgicas con música en poblaciones indígenas del arzobispado de Lima; y 4) ilustraciones en la Nueva crónica y buen gobierno (ca. 1595-1615) de Guaman Poma de Ayala relacionadas con aspectos tratados en el artículo.

Capilla de Música de la Catedral de Lima (siglos XVI y XVII) - arzobispo fray Toribio de Mogrovejo - Gutierre Fernández Hidalgo ( ca. 1545/1547-1623) - Consueta (1593) - ministriles indios - patronazgo musical indígena

Music in Lima´s Cathedral under Archbishop Mogrovejo (1581-1606): Gutierre Fernández Hidalgo, the 1593 Consueta, the Indigenous Participation

Abstract

Study about three aspects of sacred musical activity in Lima and its surroundings under archbishop fray Toribio de Mogrovejo (1581-1606): 1) activity of Gutierre Fernández Hidalgo in Lima, where he was chapelmaster at the Cathedral and wrote music books for that church and for the nun convent of La Encarnación (ca. 1590-1591); 2) the 1593 Consueta, compiled under Mogrovejo’s initiative; and 3) indigenous involvement in catholic ceremonies, with particular attention to performances of Indian ministriles in Lima Cathedral, and to foundations of sung masses by indigenous caciques in rural areas of the Archbishopric of Lima. The article explores unpublished documents preserved at the Archivo General de Indias in Seville and at the Archivo del Cabildo Metropolitano in Lima. Four Appendices are included: 1) biographical information on Gutierre Fernández Hidalgo; 2) selection of musical aspects in the 1593 Consueta for Lima Cathedral; 3) some liturgical ceremonies with music in indigenous villages within the Archbishopric of Lima; and 4) illustrations in the Nueva crónica y buen gobierno (ca. 1595-1615) by Guaman Poma de Ayala related to some of the article’s contents.

Music chapel of Lima Cathedral (16th and 17th centuries) - archbishop fray Toribio de Mogrovejo - Gutierre Fernández Hidalgo (ca. 1545/1547-1623) - Consueta (1593) - Indian ministriles- indigenous musical patronage

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Article

Los indígenas músicos en el Paraguay colonial: consideraciones desde la movilidad espacial

By Laura Fahrenkrog

Departamento de Humanidades, Universidad Andrés Bello

lfahrenk@uc.cl

Resumen

Este trabajo centra su mirada en los indígenas músicos de los pueblos de indios del Paraguay colonial, tomando como punto de partida la movilidad espacial de estos sujetos en la zona. Los desplazamientos, en muchas ocasiones forzados, aparecen como elementos centrales en sus vidas y dejaron ricos vestigios documentales en los cuales los indígenas músicos adquirieron cierta visibilidad. Lo anterior nos permite situarlos en espacios de actuación y en tipos de prácticas concretas, tanto en las reducciones jesuíticas como en los pueblos a cargo de franciscanos y del clero secular. Asimismo, los traslados desde y hacia las ciudades dan cuenta de su vinculación con las celebraciones en los centros urbanos, festividades de las cuales formaron parte activa durante todo el período colonial.

Paraguay- colonia - movilidad espacial - indígenas músicos

Indigenous musicians in colonial Paraguay: thoughts on spatial mobility

Abstract

This paper is focused on the indigenous musicians of colonial Paraguay, taking spatial mobility as a starting point. Displacements, many of them forced, appear as central elements of these subjects lives, and left rich documentary traces in which these musicians acquired some visibility. This allows us to place them in specific fields of action and practices, whether in Jesuit reductions or in pueblos administered by Franciscans or the secular clergy. Furthermore, movements from and to the cities give an account of their involvement in the celebrations of urban centers, festivities in which they took an active part during the colonial period.

Paraguay - Colonial period - spatial mobility - Indigenous musicians

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Article

La Nueva Canción Chilena: un ejemplo de circulación musical internacional (1968-1973)

By Javier Rodríguez Aedo

Instituto de Investigación en Musicología CNRS-UMR 8223, Universidad París-Sorbonne IV

javier.rodriguez@paris-sorbonne.fr

Resumen

En este artículo reflexionamos acerca de la circulación internacional de la música popular chilena, específicamente aquella creada por los músicos de la Nueva Canción. En un principio, analizaremos las implicancias éticas y estéticas que la investigación folclórica desarrollada por los conjuntos Inti-Illimani y Quilapayún en el contexto de las giras musicales por América Latina y Europa tiene en su creación musical, poniendo énfasis en la manera en que los artistas se transforman en intermediarios musicales. En un segundo momento, nos centraremos en las actividades políticas de los músicos de la Nueva Canción en el plano internacional, quienes comienzan a jugar un importante rol histórico en tanto agentes diplomáticos durante la Unidad Popular. De esta manera, intentaremos restituir la importancia que tienen las interacciones internacionales en la configuración de la práctica musical chilena que, lejos de permanecer periférica, logra vincularse con un entramado político-musical global.

Nueva Canción - folclore - circulación - diplomacia - solidaridad

The Chilean New Song: an example of international musical circulation (1968-1973)

Abstract

This article examines the international circulation of Chilean popular music, specifically the music composed by musicians within the Chilean New Song movement. At first, we will discuss the ethical and aesthetical implications of the musical research developed by the groups Inti-Illimani and Quilapayún in the context of their international musical tours in Latin America and Europe, emphasizing the role of the artists as musical intermediaries. Second, we will focus the analysis on the political activities of these musicians, who begin to play a particularly relevant role abroad as diplomatic agents during the Popular Unity. In this way, we will try to restore the importance of international interactions in the establishment of a Chilean musical practice which, far from staying peripheral, is able to connect to a global political-musical framework.

New Song - folklore - circulation - diplomacy - solidarity

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Article

Doble articulación y ciencias cognitivas de tercera generación: desafiando las nociones tradicionales en torno a la experiencia musical acusmática

By Federico Schumacher Ratti

Centro de Estudios de la Argumentación y el Razonamiento (CEAR), Facultad de Psicología, Universidad Diego Portales

federico.schumacher@mail.udp.cl

Claudio Fuentes Bravo

Centro de Estudios de la Argumentación y el Razonamiento (CEAR), Facultad de Psicología, Universidad Diego Portales

claudio.fuentes@udp.cl

Resumen

En este artículo caracterizamos la música acusmática en tanto modo de producción y modalidad de representación acústica, en función de lo cual establecemos un conjunto de condiciones que definen su práctica y ethos particular desde un enfoque fundamentalmente pragmático y cognitivo. Damos cuenta de una de las críticas más relevantes a las músicas contemporáneas y analizamos el prejuicio intelectual que subyacería a esas críticas. Proponemos, hacia el final, una analogía entre la reacción de la ciencia cognitiva de tercera generación hacia las posturas dualistas clásicas, y aquella de las músicas contemporáneas de tradición académica, en particular la acusmática, en relación con el canon armónico tonal clásico, analogía que no solo da cuenta de coincidencias históricas y estructurales, sino que revela una convergencia epistemológica de profundos alcances entre ambas disciplinas.

música - acusmática - ciencias cognitivas - lingüística

Double articulation and third-generation cognitive sciences: defying traditional notions around the acousmatic musical experience

Abstract

In this article we characterize acousmatic music as a mode of production and as a modality of acoustic representation, based on which we establish a set of conditions that define their practice and particular ethos from a fundamentally pragmatic and cognitive approach. We also discuss one of the most relevant points of criticism to new music and we analyze the intellectual prejudices which underlie these approaches. We propose, towards the end, an analogy between the reaction of third-generation cognitive science towards classical dualistic positions, and that of contemporary music, specially acousmatic music, in relation to the classical tonal harmonic canon. This analogy not only sheds light on historical and structural coincidences, but it also reveals an epistemological convergence between both disciplines.

music - acousmatic - cognitive science - linguistic

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Article

Construindo o nacional na ópera: A Marília de Itamaracá de L. V. De-Simoni

By Paulo M. Kühl

Instituto de Artes, Universidade Estadual de Campinas

paulokuhl@iar.unicamp.br

Resumen

Luiz Vicente De Simoni (1782-1881), médico italiano que foi para o Rio de Janeiro em 1817, esteve constantemente envolvido no mundo musical e teatral da cidade. Ele é o autor de Marília de Itamaracá (1854, música de Adolpho Maersch), considerada por alguns autores como a primeira ópera “brasileira”. O tema é histórico e narra episódios da guerra contra os holandeses no século XVII. Uma das principais preocupações do autor era o uso de temas brasileiros e portugueses nas óperas, de modo a inventar algo de nacional. Como parte de um movimento maior, a ideia era explorar temas relacionados ao povo, à paisagem e às tradições brasileiras nas óperas que deveriam ser cantadas em português. O movimento estava ligado a um projeto político mais vasto, patrocinado pelo estado e pelo imperador, que procurava rever a história do país e construir uma nova identidade cultural. A proposta deste artigo é examinar alguns aspectos do libreto da Marília de Itamaracá e as ideias discutidas em seu prefácio, mostrando as contradições e as tensões envolvidas na criação de uma identidade nacional através das óperas.

nacionalismo - ópera - libretos - Brasil - Século XIX

Building National Character in Opera: L. V. De-Simoni’s Marília de Itamaracá

Abstract

Luiz Vicente De Simoni (1782-1881) was an Italian physician who went to Rio de Janeiro in 1817, and was constantly involved in the musical and theatrical scene of the city. He is the author of Marília de Itamaracá (1854, music by Adolpho Maersch), considered by some authors as the first “Brazilian” opera. The subject is historical and narrates some episodes of the 17th century war against the Dutch. One of his main concerns was the use of Brazilian and Portuguese themes in operas, in order to invent something “national”. As part of a broader movement, the idea was to explore Brazilian people, landscape and traditions as the main subject for operas that should be sung in Portuguese. The movement was related to a broader political project sponsored by the government and the Emperor, aimed at the revision of Brazilian history and the construction of a new cultural identity for the country. The purpose of this paper is to examine some aspects of the libretto of Marília de Itamaracá and the ideas discussed in its preface, showing the contradictions and tensions involved in the creation of a “national” identity through operas.

nationalism - opera - libretti - Brazil - 19^th century

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Minutes

Acta de premiación del X Premio Latinoamericano de Musicología “Samuel Claro Valdés”

Instituto de Música, Pontificia Universidad Católica de Chile

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Article

Entangled Rhythms on a Conflicted Island: Digging up the Buried Histories of Dominican Folk Music

By Sydney Hutchinson

Dept. of Art and Music Histories, Syracuse University

sjhutchi@syr.edu

Resumen

The ongoing human rights crisis in the Dominican Republic has made it abundantly clear that antihaitianismo lives on in the island of Quisqueya. While most Dominican histories date such sentiments back to the 1822-44 Haitian "occupation" of the eastern part of the island, evidence seems rather to indicate that coexistence was relatively peaceful up until the Trujillo dictatorship (1930-1961). Over three decades, Trujillo institutionalized anti-haitianism and the merengue as key components of Dominican nationalism. Evidence of cross-border musical and cultural exchanges with Haiti were thus written out of the histories of merengue beginning to proliferate at the time. Today, as tens of thousands of Dominicans of Haitian descent are denied their fundamental rights, it is clear that such rhetorical moves have real effects. Rectifying the situation will require huge cultural changes, including the writing of histories that emphasize similarities and the shared humanity of both populations. This paper is such an exercise in activist historical ethnomusicology. As such, I analyze the myths surrounding the early history of merengue and pambiche rhythm, examine historical documents to uncover alternative histories, and present evidence supporting the entanglement of musical practices of Haiti and Dominican Republic before and during Trujillo’s time.

racism - nationalism - Dominican Republic - musicology - antihaitianismo - rhythm

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Article

A música popular urbana do final do século XIX e início do século XX no Brasil e sua influência nos arranjos da fase madura da carreira de Pixinguinha

By Ana Lúcia Fontenele

Curso de Licenciatura em Música, Universidade Federal do Acre

alfontenele@gmail.com

Resumen

A partir de publicações e gravações surgidas desde a década de 1980, músicos e pesquisadores puderam perceber e vivenciar o tipo de musicalidade presentes no princípio dos gêneros choro e samba no Brasil. Para compositores e intérpretes como Pixinguinha, tais tipos de contextos, musical e social, estiveram presentes nas suas criações em diferentes fases das suas carreiras. No caso de Pixinguinha, isso se deu desde a sua infância e no início do período de profissionalização. Apesar de atuar como arranjador na fase áurea da música popular, de cunho comercial, no Brasil, Pixinguinha pode demonstrar tal influência na sua atuação como músico, compositor e arranjador. Isso se deu, principalmente na fase madura da sua carreira, na qual Pixinguinha atuou como saxofonista na dupla Pixinguinha e Benedito Lacerda. O presente artigo pretende observar tal influência em alguns arranjos de Pixinguinha para orquestra popular. Dentre eles destacam-se: a série Orquestra Brasília, publicados pela Editora Irmãos Vitale; os arranjos realizados para o programa radiofônico O Pessoal da Velha Guarda, como também os arranjos criados para pequenos grupos registrados, em LPs, pela gravadora Sinter. Tais discos foram gravados no período de 1955 a 1959.

música popular urbana - choro - samba - arranjo musical

The urban popular music of the late 19th century and early 20th century in Brazil and its influence in the arrangements of the mature phase of Pixinguinha's career

Abstract

From publications and recordings that emerged during the 1980s, musicians and researchers were able to perceive and experience the kind of musicianship present in the beginning of genres such as choro and samba in Brazil. For composers and performers such as Pixinguinha, these types of contexts, musical and social, were present in his creations in different stages of their careers. In the case of Pixinguinha, this came from his childhood and early professionalization period. Despite his performance as an arranger in the golden age of popular music –of a commercial nature– in Brazil, Pixinguinha can demonstrate such influence on his work as a musician, composer and arranger. This influence occurred mainly in the mature stage of his career, in which Pixinguinha performed as a saxophonist in the duo Pixinguinha and Benedito Lacerda. This article seeks to observe this influence in some of Pixinguinha’s arrangements for popular orchestra. Among them are: the Orquestra Brasilia series, published by Irmãos Vitale Editions; the arrangements made for the radio program O Pessoal da Velha Guarda, and the arrangements created for small groups registered in LPs by the Sinter recorder. These albums were recorded during the 1955-1959 period.

urban popular music - choro - samba - musical arrangement

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Document

Caracterización de los músicos en la Catedral Matriz de Cuenca desde inicios del Obispado y durante el siglo XIX. Plantillas institucionales de músicos

By Arleti Molerio Rosa

Facultad de Artes, Universidad de Cuenca, Ecuador

arletimol@hotmail.com

Resumen

A partir de publicações e gravações surgidas desde a década de 1980, músicos e pesquisadores puderam perceber e vivenciar o tipo de musicalidade presentes no Desde la segunda mitad del siglo XX, los estudios catedralicios han ocupado un espacio importante en las temáticas musicológicas. Numerosas publicaciones sobre el tema, tanto en Europa como en América, han marcado un camino que construye un imaginario cada vez más crítico y real. Sin embargo, aún quedan por ser estudiadas numerosas instituciones catedralicias, las cuales se encuentran a la espera de articular su historia con el panorama general, especialmente en los países hispanoamericanos. Como consecuencia de esta realidad, el énfasis de este trabajo investigativo se centra en una aproximación documental al estudio de la actividad musical en la Catedral Matriz de Cuenca (Ecuador) durante el siglo XIX, prestando especial atención a la reconstrucción de las plantillas de músicos institucionales catedralicios.

capilla musical catedralicia - plantillas institucionales - Catedral de Cuenca - Ecuador

Features of the musicians in the main Cathedral of Cuenca from the early Episcopate and during the XIX Century. Institutional templates of musicians

Abstract

Since the second half of the 20^th century, studies regarding cathedrals have occupied a very important place in the music field. Many works, both in Europe and the Americas, have defined a more real and critical musical imaginary. However, there still remains a large number of unstudied cathedral institutions. Cathedrals’ history is yet to be analyzed in depth and put into context, especially in Hispanic countries. In response to the afore mentioned, this work takes a documentary approach at studying the musical activities in the Cathedral of Cuenca (Ecuador), during the 19^th century, paying special attention to the reconstruction of the musicians’ templates.

cathedral musical chapel - institutional templates - Cathedral of Cuenca - Ecuador

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Review

Consort Guitarrístico de Chile. 2016. Micorriza. Valparaíso: EMMA/Fondo para el fomento de la música nacional. CD.

By Mauricio Gómez Gálvez

IReMus, Université Paris-Sorbonne (Paris IV)

mauricio_gomezgalvez@yahoo.fr 

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Review

Sevilla, Manuel et al. 2014. Travesías por la tierra del olvido: modernidad y colombianidad en la música de Carlos Vives y La Provincia. Bogotá: Editorial Pontificia Universidad Javeriana.

By Sergio Ospina-Romero

Cornell University

sdo29@cornell.edu

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Review

Vários autores. 2016. Nuevos Aires Chilenos para Oboe. José Luis Urquieta, oboé solo. Gravação independente. Disco Compacto.

By Lúcius Mota

Departamento de Música, Universidade Federal de Santa Maria

luciusmota@gmail.com

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Authors

Authors issue 39 (for “Articles” and “Documents”)

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Errata

Errata issue 38

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