Iconografia Musical Na América Latina

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Iconografia Musical Na América Latina Iconografia musical na América Latina: discursos e narrativas entre olhares e escutas Iconografía musical en América Latina: discursos y narrativas entre miradas y escuchas UNIVERSIDADE FEDERAL DA BAHIA Reitor: João Carlos Salles Pires da Silva Vice-reitor: Paulo Cesar Miguez de Oliveira Assessor do Reitor: Paulo Costa Lima Diretor: José Maurício Vale Brandão EDITORA DA UNIVERSIDADE FEDERAL DA BAHIA PROGRAMA DE PÓS-GRADUAÇÃO EM MÚSICA Diretora: Flávia Goulart Mota Garcia Rosa Coordenadora: Flávia Candusso Conselho editorial Alberto Brum Novaes Angelo Szaniecki Perret Serpa Caiuby Alves da Costa Charbel Ninõ El-Hani Cleise Furtado Mendes ACERVO DE DOCUMENTAÇÃO Evelina de Carvalho Sá Hoisel HISTÓRICA MUSICAL Maria do Carmo Soares de Freitas (ADoHM / SIBI-UFBA) Maria Vidal de Negreiros Camargo Coordenação musicológica: Pablo Sotuyo Blanco APOIO Pablo Sotuyo Blanco (Organizador) Iconografia musical na América Latina: discursos e narrativas entre olhares e escutas Iconografía musical en América Latina: discursos y narrativas entre miradas y escuchas Salvador EDUFBA 2019 2019, autores. Direitos para esta edição cedidos à Edufba. Feito o depósito legal. Grafia atualizada conforme o Acordo Ortográfico da Língua Portuguesa de 1990, em vigor no Brasil desde 2009. Projeto gráfico: Edson Nascimento Sales Editoração e arte final: Josias Almeida Jr. Revisão: Mariana Rios de Amaral Oliveira e Cristóvão Mascarenhas Normalização: Sandra Batista SIBI/UFBA - Biblioteca Reitor Macêdo Costa I17 Iconografia musical na América Latina [recurso eletrônico] : discursos e narrativas entre olhares e escutas = Iconografia musical em América Latina: discursos y narrativas entre miradas y escuchas / Pablo Sotuyo Blanco, organizador. Salvador: EDUFBA, 2019. 508 p. Textos em português, espanhol e inglês. Modo de acesso: https://repositorio.ufba.br/ri/handle/ri/31038 ISBN 978-85-232-1966-6 1. Música – América Latina - História. 2. Iconografia – Música. I. Sotuyo Blanco, Pablo. (org.) II. Título: Iconografia musical em América Latina: discursos y narrativas entre miradas y escuchas. CDU – 78.04 Elaborada por Geovana Soares Lira CRB-5: BA-001975/O Editora filiada à Editora da UFBA Rua Barão de Jeremoabo s/n – Campus de Ondina 40170-115 – Salvador – Bahia Tel.: +55 71 3283-6164 Fax: +55 71 3283-6160 www.edufba.ufba.br [email protected] Sumário 9 Apresentação 11 “Las cuatro partes del mundo” Canto y baile en Palmas del Socorro (Santander, noreste de Colombia) CA. 1810-1820 Egberto Bermúdez 73 Fuentes visuales para el estudio de la música popular del siglo XX en Chile Juan Pablo González 95 Música, humor e iconografía musical Los programas de mano del grupo argentino Les Luthiers (1967-2018) Juliana Guerrero 125 Aproximación a contextos marginales del rock en el estado de México a través de su iconografía musical en el paisaje urbano Alfredo Nieves Molina 139 El personaje del Pilatos en el ritual dancístico- musical del Palo Volador Eco de la representación iconográfica de la población afromestiza en México Erika Salas Cassy 153 Os acervos fotográficos dos arquivos nacionais dos países de língua portuguesa Usos e usuários Marcelo Nogueira de Siqueira 169 O dueto angélico da catedral e a passagem da Belle Époque em Aracaju (SE) Thais Fernanda Vicente Rabelo Maciel 189 O ostensório e o coro angélico nos fragmentos de pintura do teto da sacristia da antiga Sé Primacial do Brasil Belinda Maria de Almeida Neves 227 A trajetória do tenor Giovanni Badaracco através da crítica e da iconografia musical entre 1899 e 1901 Luciane Viana Barros Páscoa 257 O músico vestido de preto Representações e interpretações possíveis na obra de Anton Domenico Gabbiani (1652-1726) sobre os músicos do grand príncipe Ferdinando da Toscana Márcio Páscoa 293 Using our own voices, telling our own herstories Reflections about sound creation based on voice and technology Isabel Nogueira 311 Iconografia musical oculta Estudo de caso em marcas d’água Pablo Sotuyo Blanco 353 Arthur Napoleão, Carlos Gomes, Camille Saint- Saens e Jean-Henry Ravina reunidos em um leque de autógrafos Mary Angela Biason 377 A Hora da Música em Uma Casa Brasileira na Belle Époque paulista Representações de uma sociedade em transição Diósnio Machado Neto 407 O Sicim Uma aplicação tecnológica para uma melhor classificação organológica Pedro Ivo Araújo 431 O violão em fontes iconográficas Uma narrativa sobre as suas representações no espaço brasileiro Beatriz Magalhães-Castro 491 Sobre os autores / Sobre los autores Apresentação Dando continuidade aos esforços iniciados pelo Projeto Nacional de Indexação, Catalogação, Pesquisa e Divulgação do Patrimônio Iconográfico Musical no Brasil (RIdIM-Brasil) em 2015, quando da organização e lançamento dos Estudos luso-brasileiros em iconografia musical, o presente volume – que intitulamos Iconografia musical na América Latina: discursos e nar- rativas entre olhares e escutas/Iconografía musical en América Latina: discursos y narrativas entre miradas y escuchas – procura continuar fortalecendo a visão do RIdIM-Brasil em termos de promoção da pesquisa em iconografia musical, desta vez no continente latino-americano. Nesse sentido, este livro – com caráter fundamentalmente bilíngue, majoritariamente em castelhano e português – reúne 16 trabalhos oriundos dos cinco países mais representativos no que diz respeito à produção técnica e científica em torno da iconografia musical, os quais, de norte a sul, constituem quase 70% do território da América Latina: México, Colômbia, Brasil, Chile e Argentina. De forma semelhantemente à feita na publicação anterior, o RIdIM-Brasil convidou autores de países que, por compar- tilhar da mesma área geográfica com fortes raízes culturais comuns, expõem diversos aspectos da produção iconográfica musical que permitirão ao leitor ter uma visão da complexidade e riqueza da nossa cultura visual e musical, cuja abrangência e alcance não se limitam ao território implicitamente com- preendido pela origem dos autores ou das fontes visuais estu- dadas. Seus textos discutem interessantes aspectos relativos à cultura visual e musical documentada na região, sem por isso ficarem a ela circunscritos e limitados. Tanto do ponto de 9 vista temático quanto epistemológico, hermenêutico, metodológico e, inclusive, técnico e documental, as narrativas e escutas ultrapassam as fronteiras ima- nentes, estabelecendo por vezes conexões de alcance nacionais, continentais e até intercontinentais – como no caso da iconografia no âmbito da Comunidade dos Países de Língua Portuguesa (CPLP). A rica diversidade temática abrange práticas culturais musicais tanto urbanas quanto rurais, do passado e do presente, representadas ou documentadas em fontes visuais de inestimável valor científico e patrimonial. Itens iconográficos das mais diversas naturezas – pinturas, gravuras, impressos, fotografias, audio- visuais, moedas, esculturas, leques e marcas d’água –, cobrindo um extenso lapso de tempo que, nesta ocasião, abarca mais de 2 mil anos – notadamente entre o século I a.C. e o presente –, são fontes de informação importantíssimas, merecedoras de valiosas considerações, incluindo tanto o seu conteúdo infor- macional, seu valor documental de práticas musicais e sua significação cultural quanto de outros aspectos decorrentes e correlatos, como, por exemplo, as suas taxonomias, tipologias, técnicas, suportes e processos. Além de um agrupamento tácito por países, pareceu-nos desnecessário tentar organizar a sequência de ensaios por possíveis temas ou subtemas. O seu conjunto apresenta um amplo, notável e rico panorama da produção científica e técnica desses dignos representantes da pesquisa em iconografia musical na América Latina e seu desenvolvimento, incluindo as jovens autoras galardonadas com os Prêmios RIdIM-Brasil das edições 2015 e 2017, junto ao merecedor do Prêmio Mercedes Reis Pequeno 2017, assim evidenciando não apenas o alcance nacional do projeto RIdIM-Brasil, como também o seu crescente prestígio e reconhecimento regionais, continentais e internacionais. Destarte, caro leitor, acreditamos sinceramente estar lhe oferecendo um livro que, esperamos, estimule o seu interesse não apenas pelo patrimônio iconográ- fico musical aqui discutido, via narrativas que expõem a sua riqueza, diversidade, valor e significação patrimonial e cultural, mas também pela preservação, con- servação, estudo e divulgação do restante da nossa riqueza cultural, musical e iconográfica, que também merece ser devidamente escutada e narrada. Por tudo isso, caro leitor, lhe desejamos uma ótima escuta dessas narra- tivas visuais! Pablo Sotuyo Blanco Presidente do RIdIM-Brasil 10 Iconografia musical na América Latina “Las cuatro partes del mundo” Canto y baile en Palmas del Socorro (Santander, noreste de Colombia) CA. 1810-1820 Egberto Bermúdez 1 Introducción A lo largo del año 2014 una modesta edificación de la pequeña localidad de Palmas del Socorro – Departamento de Santander, alrededor de 300 km al noreste de Bogotá – cedió ante las inclemencias del tiempo y quedó en estado de ruina casi total. Cuatro años después colapsó la única pared que restaba en pie. Varias de las paredes internas de los tres recintos de dicha casa (Imágenes 1 a 3) contenían importantes muestras de pintura mural de comienzos del siglo XIX que solo se documentaron fotográficamente en forma parcial en septiembre de 2012.1 En 1 Agradezco a los profesores de la Maestría en Conservación del Patrimonio Cultural Inmueble de la Facultad de Artes de la Universidad Nacional de Colombia, Juanita Barbosa, María del Pilar López, German Téllez, y
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