DOCSLIB.ORG

Industria Musical Independiente De Chile

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Industria Musical Independiente De Chile LICEO BICENTENARIO ÓSCAR CASTRO ZÚÑIGA DEPARTAMENTO: ARTES - MÚSICA DOCENTE: Marcos Ramírez R. CURSO/NIVEL: 4º medio GUIA Nº5 Impacto del cambio tecnológico en el mercado del disco y la difusión musical en los medios de comunicación Nombre: Curso: 4º A·B·C·D·E·F·G·H·I·J Fecha semana:18 al 22 de mayo Evaluación formativa O.A: Descubren, analizan y caracterizan las O.C: Reflexionar sobre el mercado digital de la industria creativa funciones, desarrollo e interinfluencia de las musical nacional, relacionar datos y cifras respecto a popularidad y músicas en la actualidad, investigando acerca seguidores de los artistas chilenos. de sus características distintivas y reflexionando acerca de su relación con las redes tecnológicas de comunicación Instrucciones generales: • Leer comprensivamente la explcación de los gráficos. • Analizar los gráficos y contrastarlos según la percepción personal sobre el tema. • Elaborar y registrar en cuaderno reflexión sobre las temáticas requeridas (no enviar evidencia al docente). • Horario de atención: miércoles desde las 14:00 a 18:00 hrs. al siguiente email: [email protected]. Spotify IMPACTO DEL CAMBIO TECNOLÓGICO EN EL MERCADO DEL DISCO En el año 2018 IMI CHILE (Industria Musical Independiente de Chile) junto al apoyo y patrocinio de SCD (Sociedad Chilena del Derecho de Autor) publico una investigacion analizando la industria creativa musical nacional y su exposicion a la audiencia en el mercado digital. Se tomo como fuente principal para el levantamiento de datos la plataforma Spotify. Si bién durante el ultimo año las producciones nacionales presentes en esta popular plataforma aumento considerablemente, los datos no dejan de ser relevantes. Indice de popularidad El gráfico 1 permite apreciar el índice de popularidad de los artistas chilenos presentes en Spotify según la misma clasificación de 27 géneros musicales. Estudiando los datos, se observa que los géneros más populares de la música chilena a nivel global son Latin Alternative (49,5) -con exponentes como Joe Vasconcellos, Ana Tijoux y Gepe entre otros-, Japanoise (43%), con Astro, Rock ChilenoSpotify (37,8%), con Quilapayún, Roberto Parra y Tronic, y la denominada “Nueva Canción Chilena” (36,6%) con Chinoy, Gepe y Ases Falsos. Por su parte, el menor índice de popularidad pertenece a artistas asociados a Metal (3%), Jazz (4,9%) y Rock (5,7%). En términos generales, no existe una tendencia clara que permita asociar estilos musicales con géneros e índice de popularidad asociado, lo que estaría revelando un efecto claro de artistas o bandas específicas en el posicionamiento del género. Gráfico 1 Gráfico 2 Índice de popularidad promedio de artistas chilenos según género musical (2006-2018) 100 80 60 37. 36. 49.5 605 788 633 990 43 40 803 826 18. 14. 16. 16. índice de popularidad 13. 714 11. 11. 11. 11. 715 066 647 8.6 9.2 223 285 6.7 7.2 7.5 194 507 705 913 447 666 058 5.7 5.9 222 684 714 20 583 435 138 923 444 352 11. 882 043 667 824 423 019 222 10. 211 14 154 892 897 888 076 444 941 6 353 478 12 469 5.7 607 22 4 62 44 89 92 9 3 4.9 39 5 84 0 Pop Rap Jazz Rock Funk Punk Metal Otros Trova Fusión Reggae Cumbia Clásica Pop-Rock Folklore Infantil Tropical Folklore Rancheras Reggaeton Nueva Ola Japanoise Electrónica Chilean Rock Nueva Canción Latin Christian Rock Alternativo Género Latin Alternative Nota: Spotify mide la popularidad de un artista a partir del “índice de popularidad” que cuenta con valores de 0 a 100, donde 0 son los tracks menos populares y 100 los más populares. Este índice es calculado en base a la cantidad de reproducciones del track, ponderándolas con la fecha tendrán una mayor popularidad que aquellas con misma cantidad de reproducciones pero más antiguas. n=2214 25 Total de seguidores mundiales de artistas chilenos A partir del gráfico 2, se observa que dentro del conjunto de artistas chilenos presentes en Spotify, los que concentran la mayor cantidad de seguidores a nivel mundial son los exponentes de rock chileno. En segundo lugar, y con una diferencia considerable se encuentran quienes se inscriben en la denominada “Nueva Canción Chilena”. En contraparte, los artistas que pueden inscribirse en los géneros “clásico”, “rancheras” y “tropical” son los que comparativamente concentran el menor número de seguidores, no alcanzando los 10.000 en todo el mundo. En un análisis integrado respecto de los anteriores gráficos ,se evidencia que aquellos que poseen mayor número de seguidores no se corresponden con los géneros que presentan una mayor oferta de artistas en la red, es decir, los artistas más seguidos no se inscriben necesariamente en los géneros de mayor oferta. No obstante, puede decirse que algunos géneros con alto número de seguidores si tienen una oferta considerable en la plataforma, como son los caso del “rock chileno”, la “Nueva Canción Chilena” y el “Pop”. Por otra parte, existen casos interesantes donde esta relación no sucede, como es el caso de “Latin Alternative”, género de pocos exponentes chilenos en Spotify pero muy popular con alto número de seguidores. Aquí se aprecia un “efecto banda”, fenómeno atribuible a artistas específicos que impulsan la demanda de música, y podría señalarse que están abriendo nichos o mercados para la música chilena. Una segunda evidencia que surge del análisis integrado refiere a los casos donde oferta, popularidad y número de seguidores globales tienden a coincidir, como es el caso de la “Cumbia”. Este dato estaría hablando de un género consolidado en la plataforma, donde existe una escena nacional numerosa que es popular y seguida globalmente. Atendiendo a las magnitudes de los datos, se identifica un potencial de crecimiento para los artistas pertenecientes a este género. En contraparte, los datos indican que existen desacoples entre oferta, popularidad y número de seguidores para géneros como el “Rock”, cuya situación es ilustrativa de una inserción poco exitosa en la plataforma; aun cuando es el género que concentra una mayor oferta de música chilena en Spotify, presenta un bajo índice de popularidad y relativamente pocos seguidores (si se fusiona esta categoría con rock chileno sus números mejoran bastante). En este caso, se requeriría de una estrategia más agresiva de promoción y posicionamiento de mercado. Gráfico 2 Gráfico 3 Total de seguidores mundiales de artistas chilenos en Spotify según género musical (2018) 3.000.000 275 814 9 2.500.000 191 771 2.000.000 7 1.500.000 115 444 seguidores 2 1.000.000 884 287 636 664 287 518 627 405 453 440 500.000 344 987 288 580 199 876 166 339 106 959 514 526 961 102 113 236 269 315 360 384 503 599 996 890 37 656 8 7 3 91 47 39 39 03 16 26 30 92 0 Rap Pop Jazz Punk Funk Rock Metal Otros Trova Fusión Reggae Cumbia Clásica Tropical Infantil Pop-Rock Folklore Rancheras Reggaeton Nueva Ola Japanoise Electrónica Chilean Rock Nueva Canción Latin Christian Rock Alternativo Género Latin Alternative Nota: Por seguidores se entiende al número de personas que sigue a un artista o banda de manera REFLEXIÓN A partir de los datos expuestos y analisados, en conjunton=10.908.704 a las actividades anteriormente desarrolladas, reflexiona y luego registra en tu cuaderno tus opiniones personales basandose en lo siguiente: 1.- Los datos y cifras estudiadas se relacioanan a la percepción que tenías respecto a los artistas nacionales. 2.- Los artistas chilenos que lanzan producciones y no las publican en medios digitales, crees que tendran una incidencia con su música haciendo la promoción “a la antigua” (disco fisico, radio difusión, eventos masivos, etc). El trabajo tesonero todo lo vence 27.
Load more

Recommended publications
  • La Nueva Canción and Its Significance
    Excerpt * Temple University Press 1 La Nueva Canción and Its Significance uring the 1960s and 1970s, profound political changes were taking place in Chile and in other parts of Latin America. New political Dand social movements of students, workers, peasants, urban shanty- town dwellers, and other groups mobilized to demand rights and political inclusion along with deeper democratization and structural changes in elit- ist systems. The 1960s were marked by the Cuban Revolution and the war in Vietnam, and many young people in Chile, as in other countries, were strongly anti-imperialist and in favor of progressive social change. These popular movements coalesced to form a powerful force that was instrumen- tal in electing the democratic socialist Salvador Allende president in 1970. Allende’s goal was to preside over a peaceful, constitutional path to social- ism in Chile. He served for three turbulent years, attempting to implement a program to reduce social inequalities, until he was overthrown in the U.S.- backed military coup of 1973. Political and Social Context In Chile in the early 1960s, social divisions were severe. Some 25 percent of the population had access to sewage services, and only 10–11 percent of rural populations had supplied drinking water. In 1960, 16.4 percent of the population was illiterate.1 Tens of thousands of people had built crude, leaky shacks to live in on the outskirts of Santiago that lacked plumbing, run- ning water, and electricity. Workers had few rights and lived in overcrowded Excerpt * Temple University Press 2 Chapter 1 tenements, shantytowns, or single-room company housing; miners lived in company towns near the mines, enduring harsh conditions.
    [Show full text]
  • Nueva Canción Chilena
    BLOOMSBURY ENCYCLOPEDIA OF POPULAR MUSIC OF THE WORLD VOLUMES VIII – XIII: GENRES VOLUME IX GENRES: CARIBBEAN AND LATIN AMERICA EEncyclopediancyclopedia ..indbindb i 11/14/2014/14/2014 33:50:15:50:15 PPMM Principal Editors David Horn , Institute of Popular Music, University of Liverpool John Shepherd , FRSC, Carleton University, Ottawa Founding Editor Paul Oliver , Oxford Brookes University, Oxford International Advisors Christopher Ballantine, University of KwaZulu-Natal, Peter Manuel, City University of New York, USA South Africa Portia Maultsby, Indiana University, USA Nimrod Baranovitch, Haifa University and Richard Middleton, University of Newcastle, UK Hebrew University of Jerusalem, Israel Toru Mitsui, Kanazawa University, Japan Rafael Jos é de Menezes Bastos, Universidade Federal de Santa Catarina, Brazil Svanibor Pettan, University of Ljubljana, Slovenia Th eo Cateforis, Syracuse University, USA Paolo Prato, Pontifi cal Gregorian University, Rome Jan Fairley, University of Liverpool, UK† Motti Regev, Open University of Israel, Israel Juan Pablo Gonzalez, Universidad Alberto Hurtado Raquel Z. Rivera, affi liated scholar, Center for Puerto SJ, Santiago, Chile Rican Studies, Hunter College, City University of New York, USA Dai Griffi ths, Oxford Brookes University, UK T. M. Scruggs, University of Iowa, USA Jocelyne Guibault, University of California, Berkeley Chris Stapleton, London, UK Bruce Johnson, University of Turku, Finland; Macquarie University, Sydney; University Martin Stokes, University of Oxford, UK of Glasgow, UK Jim
    [Show full text]
  • Punk Resistance and the Culture of Silence in the Southern Cone, 1978-1990
    “¡Represión!”: Punk Resistance and the Culture of Silence in the Southern Cone, 1978-1990 Hay Un Chanco En El Ala, p. 10 Emily Simpson Honors Thesis Seminar Professor David Farber 27 March 2013 Simpson 2 I. Introduction On the night that Los Violadores played the show that many would thereafter refer to as “the birth of punk in Argentina,” another band was scheduled to headline.1 Eduardo Camilli, a relatively famous figure in Argentine national rock, had secured the auditorium at the Universidad de Belgrano for his La Rosanroll Band, and then invited the punks to play after the fact. Few expected that the event would prove anything more significant than an enjoyable evening of music. In the weeks leading up to the show, Los Violadores played along with the rules of the conservative, upper-class university community – helped in part by the group’s founder, Hari B, who was then studying business administration at the university, even agreeing to change their name from the subversive “Los Violadores (The Violators)” to the more acceptable “Los Voladores (The Flyers)” on all signs and posters advertising the event. When the evening of 17 July 1981 arrived and the auditorium began to fill with people, only about thirty of those in attendance could be considered punks. The remaining hundred or so identified either as hippies or merely as concertgoers out to have a good time.2 The first group, Trixy y Los Maniáticos, performed without incident while the punks moved to occupy the first few rows. The hippies, content to wait out the concert until La Rosanroll Band took the stage, remained near the back of the auditorium.
    [Show full text]
  • Patricia Zarate Perez First Recording Is a Collection of Original Material and Chilean Popular Music That Mixes Jazz Improvisation, Latin Rhythms, and Songwriting
    ! Patricia Zarate Perez first recording is a collection of original material and Chilean popular music that mixes jazz improvisation, Latin rhythms, and songwriting. Produced by Grammy Winner pianist Danilo Perez, the recording explores Chilean music in a harmonically sophisticated soundscape that recontextualizes and expands Chilean images and landscapes. The name of the album has several meanings. Violeta is the name of Zarate Perez’s mother Violeta Diaz, as well as the name of renowned Chilean songwriter Violeta Parra, one of her musical influences. The color is one of the oldest used by humans, found in some of the oldest prehistoric cave art in Europe; Violet is also the color of many beautiful Caribbean flowers found in Panama, Patricia’s second home. The CD features some prominent jazz musicians of our time. Danilo Perez on piano with his long-standing trio, Ben Street on bass and Adam Cruz on drums, provide the musical backbone of the recording. John Patitucci is the guest in the only song as a trio (sax, bass, drums) contributing his virtuosic perspective of the electric bass. Colombian Singer Lucia Pulido sings in all tracks except one, and provides a superb voice that expresses the Spanish lyrics of the songs in a way that respects the traditional Latin song, but also leaves space for the harmonic freedom Danilo Perez continuously demands. Detroit native drummer Nate Winn and Peruvian percussionist Jorge Perez-Albela, Argentinian bass player Fernando Huergo and guitarist Claudio Ragazzi, Venezuelan cuatro player Carlos Capacho, and Panamanian rapper and violinist Joshue Ashby, complete the project with Pan-American sounds that define the recording as a Global Jazz project.
    [Show full text]
  • Musical Innovation, Collaboration, and Ideological Expression in the Chilean Netlabel Movement
    Sharing Sounds: Musical Innovation, Collaboration, and Ideological Expression in the Chilean Netlabel Movement by James Ryan Bodiford A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in the University of Michigan 2017 Dissertation Committee: Associate Professor Christi-Anne Castro, Chair Professor Kelly Askew Professor Charles H. Garrett Assistant Professor Meilu Ho Professor Bruce Mannheim James Ryan Bodiford [email protected] ORCID iD: 0000-0002-9850-0438 © James Ryan Bodiford 2017 Dedicated to all those musicians who have devoted their work to imagining a better world… ii Table of Contents Dedication ii List of Figures vi Abstract viii Chapter I – Introduction: Sharing Sounds 1 A Shifting Paradigm 10 The Transnational Netlabel Movement and its Chilean Variant 14 Art World Reformation 20 Social Discourse, Collaboration, and Collectivism 23 Experimentalism, Ideology, and Social Movements 29 Methodology 34 Chapter Summaries 36 Chapter II – “This Disc Is Culture”: Mass Media Hegemony and Its Subversion in Chilean Musical Culture, 1965-2000 39 Mass Media Hegemony and the Culture Industry 44 Social Activism and Subversion 58 DICAP, Unidad Popular and the Emergence of Nueva Canción 1965-1973 64 Musical Dissemination Under Dictatorship (1973-1989): Alerce, Clandestine Cassette Distribution 80 Democratic Re-Transition and Post-Dictatorship Transformations in the Chilean Music Industry 1990-2000 96 iii Chapter III – “My Music Is Not A Business”: New Media Transformations
    [Show full text]
  • Gagen, Justin. 2019. Hybrids and Fragments: Music, Genre, Culture and Technology
    Gagen, Justin. 2019. Hybrids and Fragments: Music, Genre, Culture and Technology. Doctoral thesis, Goldsmiths, University of London [Thesis] https://research.gold.ac.uk/id/eprint/28228/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] Hybrids and Fragments Music, Genre, Culture and Technology Author Supervisor Justin Mark GAGEN Dr. Christophe RHODES Thesis submitted for the degree of Doctor of Philosophy in Computer Science GOLDSMITHS,UNIVERSITY OF LONDON DEPARTMENT OF COMPUTING November 18, 2019 1 Declaration of Authorship I, Justin Mark Gagen, declare that the work presented in this thesis is entirely my own. Where I have consulted the work of others, this is clearly stated. Signed: Date: November 18, 2019 2 Acknowledgements I would like to thank my supervisors, Dr. Christophe Rhodes and Dr. Dhiraj Murthy. You have both been invaluable! Thanks are due to Prof. Tim Crawford for initiating the Transforming Musicology project, and providing advice at regular intervals. To my Transforming Musicology compatriots, Richard, David, Ben, Gabin, Daniel, Alan, Laurence, Mark, Kevin, Terhi, Carolin, Geraint, Nick, Ken and Frans: my thanks for all of the useful feedback and advice over the course of the project.
    [Show full text]
  • UC Riverside Electronic Theses and Dissertations
    UC Riverside UC Riverside Electronic Theses and Dissertations Title Warrior Spirit: From Invasion to Fusion Music in the Mapuche Territory of Southern Chile Permalink https://escholarship.org/uc/item/1xg8s85n Author Rekedal, Jacob Eric Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Warrior Spirit: From Invasion to Fusion Music in the Mapuche Territory of Southern Chile A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Jacob Eric Rekedal March 2015 Dissertation Committee: Dr. Jonathan Ritter, Chairperson Dr. Deborah Wong Dr. René T.A. Lysloff Dr. Juliet McMullin Dr. Thomas C. Patterson Copyright by Jacob Eric Rekedal 2015 The Dissertation of Jacob Eric Rekedal is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGMENTS Foremost, I thank God for the opportunity to do this kind of work. This dissertation bears my name, but it also bears the imprint of many generous individuals and several supporting institutions that made the project possible. A Humanities Graduate Student Research Grant from the University of California, Riverside financed a brief pilot research trip to southern Chile during 2008, as I finished my graduate coursework and prepared my dissertation proposal. From late 2009 until late 2010, I lived in Temuco and conducted fieldwork with a grant from the University of California Pacific Rim Research Program. Between March and December of 2011, I continued my fieldwork with a Fulbright IIE grant, including considerable local support from Fulbright’s staff in Chile. When I first arrived in Temuco for a two-week stay during September of 2008, Johanna Pérez of the non-profit organization Fundación Chol-Chol picked me up at the bus station, gave me a tour of the city and a home-cooked meal, and introduced me to the world of Mapuche artesanía.
    [Show full text]
  • Violeta Parra: Popular Educator
    Kansas State University Libraries New Prairie Press Adult Education Research Conference 2017 Conference Proceedings (Norman, OK) Violeta Parra: Popular Educator Maria A. Vetter Independent researcher, [email protected] Follow this and additional works at: https://newprairiepress.org/aerc Part of the Adult and Continuing Education Administration Commons This work is licensed under a Creative Commons Attribution-Noncommercial 4.0 License Recommended Citation Vetter, Maria A. (2017). "Violeta Parra: Popular Educator," Adult Education Research Conference. https://newprairiepress.org/aerc/2017/papers/11 This Event is brought to you for free and open access by the Conferences at New Prairie Press. It has been accepted for inclusion in Adult Education Research Conference by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Violeta Parra: Popular Educator María Alicia Vetter Abstract: This study reexamines the work of Chilean folklorist Violeta Parra with the purpose of identifying her as a popular educator. Keywords: Violeta Parra, folklore, popular education The purpose of the study was to reexamine the work of renowned Chilean folklorist Violeta Parra, with an emphasis on the educational nature of her compositions as well as on her endeavors as a researcher of folklore and as a popular educator. In previous work (Rueda, 2003; Vetter, 2003), I presented similar research with an emphasis on the adult education that took place in social movements, such as in the New Chilean Song, a cultural movement that became part of the Sixties Movement and of world-wide movements that incorporated revolutionary songs as important components of the movement. Violeta Parra was not only a precursor of the New Song, but also an educator of the members of the New Song.
    [Show full text]
  • Redalyc.Representaciones Del Pisco En La Música Rock
    Revista Iberoamericana de Viticultura, Agroindustria y Ruralidad E-ISSN: 0719-4994 [email protected] Universidad de Santiago de Chile Chile Zapata, Álex Representaciones del pisco en la música rock Revista Iberoamericana de Viticultura, Agroindustria y Ruralidad, vol. 1, núm. 1, enero, 2014, pp. 21-36 Universidad de Santiago de Chile Santiago de Chile, Chile Disponible en: http://www.redalyc.org/articulo.oa?id=469546442004 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto Álex Zapata “Representaciones del pisco en la música rock” / “Representations of pisco in rock music” RIVAR Vol. 1, N° 1, ISSN 0719-4994 IDEA-USACH, Santiago de Chile, enero 2014: pp. 21 - 36 * Representaciones del pisco en la música rock0F Representations of pisco in rock music ** Álex Zapata1F Resumen Este artículo examina un corpus de letras de canciones de rock, en su mayoría de Chile y Perú, que hacen alusión al pisco o palabras derivadas de él. Esto, con el propósito de dar cuenta de los usos atribuidos al término, dentro del contexto general de la canción, y en algunos de los casos dentro de la subcultura o estilo roquero específico. Se contrastan estos usos con los provenientes de canciones de otras músicas populares, particularmente peruanas, que son las que mencionan esta bebida alcohólica, concluyendo que en el caso de las producciones roqueras de ambos países, sobre todo desde el punto de vista de los músicos, se diluye el imaginario o función nacionalista de bebida emblema.
    [Show full text]
  • Choral Arrangements of Nueva Canción Chilena: Exploring Socially Committed Song in the Choral Context
    Choral Arrangements of Nueva Canción Chilena: Exploring Socially Committed Song in the Choral Context by Allison Pauls A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Music Department of Music University of Alberta © Allison Pauls, 2019 Abstract The dissertation for this degree comprises this document and two public-juried recitals. These were given on June 16, 2017 at First Mennonite Church in Edmonton, Alberta and May 16, 2019 at Sargent Avenue Mennonite Church in Winnipeg, Manitoba. The vibrancy of rhythm and impassioned sense of storytelling in Latin American singing contribute a distinctive character to the world of song. However, during the latter half of the 20th century, the stories of Chilean song were perturbed by increasing indignation towards long- standing socio-economic and political injustice. Socially committed poetry and singing became the foundation for a folk-inspired popular song movement in Chile known as Nueva Canción Chilena (NCCh) that identified with the people’s struggle. Though not originally associated with choral singing, the development of a body of choral literature constituting arrangements of NCCh points to the ongoing relevance of this repertoire. Recontextualizing poems and melodies rooted in a former socio-political climate, choral arrangements of NCCh play a part in sustaining the cultural memory of a shared political past. Furthermore, they act as a means of bringing to light significant aspects of Chilean musical identity within choral literature and, in doing so, claiming a more authentically Chilean choral voice. The significance of NCCh within Chilean collective memory is explored through the perspectives of five present-day Chilean choral musicians.
    [Show full text]
  • Sonido, Música Y Actitud En El Rock Chileno De Los Años Sesenta E Voz (Noprelo)
    , 1967. LP En la onda de Los Jockers. Jockers apa do C Sonido, música y actitud en el rock chileno de los años sesenta Juan Pablo González Doutor em Musicologia pela University of California. Professor do Instituto de Música da Universidad Alberto Hurtado SJ (UAH), de Santiago, e do Instituto de Historia da Pontificia Universidad Católica de Chile (PUC-Chile). Autor, entre outros livros, de Pensando a música a partir da América Latina: problemas e questões. São Paulo: Letra e Voz (no prelo). [email protected] Sonido, música y actitud en el rock chileno de los años sesenta* Sound, music, and attitude in chilean rock and roll in the 60’s Juan Pablo González resumen abstract En este artículo, abordo el concepto This article addresses the concept of rock de rock definido por la práctica de los as it was defined by the practice of the Chi- rockeros chilenos de mediados de los lean rockers during the mid sixties. That años sesenta. Esa práctica fue trans- practice was transformed into a discourse formada en discurso por los primeros by the first rock critical studies published estudios críticos sobre rock publicados in Chile in the nineties. Finally, from the en Chile en los años noventa. Final- current musicology, I review the way rock mente, desde la musicología actual, and non-rock has been defined in Chile, reviso la forma en que ha sido delimi- both from practice and from the discourse. tado el rock y el no-rock en Chile, tanto The question is about the conditions that desde la práctica como desde el discur- allow the existence of rock, as was conceived so.
    [Show full text]
  • Pan-Latin American Subaltern Solidarity and the Music of Nueva Cancion
    :g 4”: {£11.}: 57...: . .. Ezra?) .x 9‘ II? t! . [£1.11 61.1....‘0r l .92 \ '9 (2...: (4...: .. ¢ ‘. a ,. ... an up > {.9 a...” m1 an by mtg?“ f tor/\"Y g“ & —t:v‘. ‘1 ‘3t1 1 '1’: .\: n P‘I’\ :- 02 i .l\-‘!uiC'- P'sra.n C-Lale 2/0 : Uni :. re; .. an; at. I This is to certify that the thesis entitled IMAGINING “EL PUEBLO": PAN-LATIN AMERICAN SUBALTERN SOLIDARITY AND THE MUSIC OF NUEVA CANCION presented by JAMES RYAN BODIFORD has been accepted towards fulfillment of the requirements for the MA. degree in MUSIC /[//'/‘“¥ / A’T’K Major Professor’s Signatu [/ AdClet'r— w. Date MSU is an affinnative-action, equal—opportunity employer PLACE IN RETURN BOX to remove this checkout from your record. TO AVOID FINES return on or before date due. MAY BE RECALLED with earlier due date if requested. DATE DUE DATE DUE DATE DUE 5/08 K1/Proj/Acc8Pres/ClRC/DateDue,indd [MAC IMAGINING “EL PUEBLO”: PAN—LATIN AMERICAN SUBALTERN SOLIDARITY AND THE MUSIC OF NUEVA CANCION By James Ryan Bodiford A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Music 2007 lMAl Americ represc Latin A EIOball) ABSTRACT IMAGINING “EL PUEBLO”: PAN-LATIN SUBALTERN SOLIDARITY AND THE MUSIC OF NUEVA CANCION By James Ryan Bodiford This thesis is an examination of the origin and diffusion of the Pan-Latin American song movement nueva cancio’n. It argues that the nueva cancién movement represents a cultural process, through which members of the middle and lower classes in Latin America, in order to more effectively challenge the hegemonic presence of a globally interconnected elite, have “imagined” themselves to be part of a singular transnational subaltem community, signified in music through folkloric and historical references, and commonly referred to as “el pueblo”(the people).
    [Show full text]