19.12.1913: "El Cóndor Pasa" Wird Als Zarzuela Aufgeführt
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Flutes, Festivities, and Fragmented Tradition: a Study of the Meaning of Music in Otavalo
Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 4-2012 Flutes, Festivities, and Fragmented Tradition: A Study of the Meaning of Music in Otavalo Brenna C. Halpin Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the Ethnomusicology Commons Recommended Citation Halpin, Brenna C., "Flutes, Festivities, and Fragmented Tradition: A Study of the Meaning of Music in Otavalo" (2012). Master's Theses. 50. https://scholarworks.wmich.edu/masters_theses/50 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. (/AV%\ C FLUTES, FESTIVITIES, AND FRAGMENTED TRADITION: A STUDY OF THE MEANING OF MUSIC IN OTAVALO by: Brenna C. Halpin A Thesis Submitted to the Faculty ofThe Graduate College in partial fulfillment ofthe requirements for the Degree ofMaster ofArts School ofMusic Advisor: Matthew Steel, Ph.D. Western Michigan University Kalamazoo, Michigan April 2012 THE GRADUATE COLLEGE WESTERN MICHIGAN UNIVERSITY KALAMAZOO, MICHIGAN Date February 29th, 2012 WE HEREBY APPROVE THE THESIS SUBMITTED BY Brenna C. Halpin ENTITLED Flutes, Festivities, and Fragmented Tradition: A Study of the Meaning of Music in Otavalo AS PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE Master of Arts DEGREE OF _rf (7,-0 School of Music (Department) Matthew Steel, Ph.D. Thesis Committee Chair Music (Program) Martha Councell-Vargas, D.M.A. Thesis Committee Member Ann Miles, Ph.D. Thesis Committee Member APPROVED Date .,hp\ Too* Dean of The Graduate College FLUTES, FESTIVITIES, AND FRAGMENTED TRADITION: A STUDY OF THE MEANING OF MUSIC IN OTAVALO Brenna C. -
The Global Charango
The Global Charango by Heather Horak A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Music and Culture Carleton University Ottawa, Ontario © 2020 Heather Horak i Abstract Has the charango, a folkloric instrument deeply rooted in South American contexts, “gone global”? If so, how has this impacted its music and meaning? The charango, a small and iconic guitar-like chordophone from Andes mountains areas, has circulated far beyond these homelands in the last fifty to seventy years. Yet it remains primarily tied to traditional and folkloric musics, despite its dispersion into new contexts. An important driver has been the international flow of pan-Andean music that had formative hubs in Central and Western Europe through transnational cosmopolitan processes in the 1970s and 1980s. Through ethnographies of twenty-eight diverse subjects living in European fields (in Austria, France, Belgium, Germany, Spain, Portugal, Switzerland, Croatia, and Iceland) I examine the dynamic intersections of the instrument in the contemporary musical and cultural lives of these Latin American and European players. Through their stories, I draw out the shifting discourses and projections of meaning that the charango has been given over time, including its real and imagined associations with indigineity from various positions. Initial chapters tie together relevant historical developments, discourses (including the “origins” debate) and vernacular associations as an informative backdrop to the collected ethnographies, which expose the fluidity of the instrument’s meaning that has been determined primarily by human proponents and their social (and political) processes. -
Andean Music, the Left and Pan-Americanism: the Early History
Andean Music, the Left, and Pan-Latin Americanism: The Early History1 Fernando Rios (University of Illinois, Urbana-Champaign) In late 1967, future Nueva Canción (“New Song”) superstars Quilapayún debuted in Paris amid news of Che Guevara’s capture in Bolivia. The ensemble arrived in France with little fanfare. Quilapayún was not well-known at this time in Europe or even back home in Chile, but nonetheless the ensemble enjoyed a favorable reception in the French capital. Remembering their Paris debut, Quilapayún member Carrasco Pirard noted that “Latin American folklore was already well-known among French [university] students” by 1967 and that “our synthesis of kena and revolution had much success among our French friends who shared our political aspirations, wore beards, admired the Cuban Revolution and plotted against international capitalism” (Carrasco Pirard 1988: 124-125, my emphases). Six years later, General Augusto Pinochet’s bloody military coup marked the beginning of Quilapayún’s fifteen-year European exile along with that of fellow Nueva Canción exponents Inti-Illimani. With a pan-Latin Americanist repertory that prominently featured Andean genres and instruments, Quilapayún and Inti-Illimani were ever-present headliners at Leftist and anti-imperialist solidarity events worldwide throughout the 1970s and 1980s. Consequently both Chilean ensembles played an important role in the transnational diffusion of Andean folkloric music and contributed to its widespread association with Leftist politics. But, as Carrasco Pirard’s comment suggests, Andean folkloric music was popular in Europe before Pinochet’s coup exiled Quilapayún and Inti-Illimani in 1973, and by this time Andean music was already associated with the Left in the Old World. -
UC Santa Cruz UC Santa Cruz Previously Published Works
UC Santa Cruz UC Santa Cruz Previously Published Works Title Xavier Albó: Memoria, crónica y perfil Permalink https://escholarship.org/uc/item/1hs1s4tm Journal Bolivian Studies Journal/Revista de Estudios Bolivianos, 25(0) ISSN 1074-2247 Author Delgado-P., Guillermo Publication Date 2020-05-11 DOI 10.5195/bsj.2019.201 Peer reviewed eScholarship.org Powered by the California Digital Library University of California 1 Xavier Albó: Memoria, Crónica y Perfil Guillermo Delgado-P. Departamento de Antropología, Universidad de California Santa Cruz Introducción A Xavier Albó se le reconoce como a un prolífico investigador, humanista, antropólogo prematuramente inter-disciplinario, también el de ser un intelectual comprometido al modo gramsciano. Es y ha sido un fiel testigo de la Bolivia de la segunda mitad del siglo XX que, como él, extiende hacia el presente sus cualitativos cambios gestados para continuar mejorando la condición social de la población aminorada de la nación. Estamos hablando de un solidario y versátil militante ‘orgánico’ que en su pensamiento y obra académica abstrae críticamente desde la realidad vivida. Su vida intelectual constituye un paralelo que centra su pasión tanto escolástica como humana en el histórico sujeto del indianismo. Retornando a Gramsci, quien afirmó que no hay un homo faber sin un homo sapiens, pienso que Xavier Albó llegó a perfeccionar en vice-versa, la transición entre uno y otro estado. Memoria 1 En este artículo de homenaje a la obra de Xavier Albó que se celebró en LASA- Barcelona 2018, la sesión titulada: “The Life Work of Xavier Albó: His Enduring Contribution to the Founding of Social Science in Bolivia” (May 23-26), mi propósito ha de ser el de retrotraer desde hoy, la temprana influencia de Xavier en el estudiante de colegio que fui al finalizar los años sesenta. -
Xavier Albó: Memoria, Crónica Y Perfil
Xavier Albó: Memoria, crónica y perfil Guillermo Delgado-P. University of California, Santa Cruz Abstract This article is a tribute that historicizes the initial impact and reception of Xavier Albo’s foundational ideas in the establishment of social sciences in Bolivia. The author recalls Albó’s academic interest in linguistics and ethnographic research and situates his influence in the context of the 1960s and 1970s socio-political upheavals. He also sums up the setting to understand an early need to establish CIPCA, today a respected research center that has become a point of reference in the social sciences. Keywords Bolivian ethnography, CIPCA, Human Rights, indigenous languages, intellectual commitment, pluriculturality, Quechua linguistics, social change, social justice, social sciences research Resumen Este artículo es un homenaje que historiza el impacto inicial y la recepción de ideas fundacionales del antropólogo y lingüista Xavier Albó en el establecimiento de las ciencias sociales en Bolivia. El autor rememora el interés académico de Albó en la lingüística y la investigación etnográfica y sitúa su influencia en el contexto de los disturbios sociopolíticos de los años Bolivian Studies Journal /Revista de Estudios Bolivianos https://bsj.pitt.edu Vol. 25 • 2019 • doi: 10.5195/bsj.2019.201 • ISSN 1074-2247 (print) • ISSN 2156-5163 (online) Guillermo Delgado-P. 115 60 y 70. También se recapitula un transfondo para entender la temprana necesidad de establecer CIPCA, hoy día un respetado centro de investigación que se ha convertido en punto de referencia para las ciencias sociales. Palabras claves Cambio social, CIPCA, compromiso del intelectual, Derechos Humanos, etnografía en Bolivia, idiomas indígenas, investigación en ciencias sociales, justicia social, lingüística quechua, pluriculturalidad Introducción A Xavier Albó se le reconoce como a un prolífico investigador, humanista, antropólogo prematuramente inter-disciplinario, y también por ser un intelectual comprometido al modo gramsciano. -
Música Chilena Andina 1970-1975: Construcción De Una Identidad Doblemente Desplazada
CUADERNOS DE MÚSICA IBEROAMERICANA. Vol. 24 julio-diciembre 2012, 175-186 ISSN: 1136-5536 JUAN PABLO GONZÁLEZ Universidad Alberto Hurtado SJ Santiago, Chile Música chilena andina 1970-1975: Construcción de una identidad doblemente desplazada El artículo indaga sobre la música andina como una práctica artística y social surgida fuera de las comunidades andinas y ajena a sus funcionalidades de origen. Interesan las paradojas que esto ha producido en cuanto a desplazamientos de sujetos folk, procesos de resignificación cultural y de apropiación y ruptura política, junto al papel de la industria musical en todo esto. Para ello se revi- san los vínculos e influencias mutuas entre grupos andinos argentinos, bolivianos y chilenos, todos ellos convergiendo en París a partir de los años sesenta, desde donde adquieren las connotaciones cosmopolitas y políticas que los caracterizan. Asimismo, se revisa el llamado boom de la música an- dina que experimentó Chile en plena dictadura militar, abordando las fracturas y aparentes contra- dicciones de este fenómeno. Palabras clave: Música popular, Música andina, Nueva Canción, Chile, Política. This article examines Andean music as an artistic and social practice outside Andean communities and with no relation to its original purposes. Of interest are the paradoxes that this has caused in regard to the dis- placement of folk subjects, processes of cultural re-signification and political appropriation and rupture, together with the role of the music industry in all of this. The ties and mutual influences between Argentine, Bolivian and Chilean Andean groups are thus reviewed, all of which converged in Paris from the 1960s onwards, where they acquired the cosmopolitan and political connotations characteristic of them. -
Making Intangible Heritage: El Condor Pasa and Other Stories From
MAKING INTANGIBLE HERITAGE Copyright Indiana University Press Copyright Indiana University Press MAKING INTANGIBLE HERITAGE El Condor Pasa and Other Stories from UNESCO Valdimar Tr. Hafstein INDIANA UNIVERSITY PRESS Copyright Indiana University Press This book is a publication of Cataloging information is available from the Library of Congress. Indiana University Press Office of Scholarly Publishing ISBN 978-0-253-03792-3 (hardback) Herman B Wells Library 350 ISBN 978-0-253-03793-0 (paperback) 1320 East 10th Street ISBN 978-0-253-03794-7 (ebook) Bloomington, Indiana 47405 USA 1 2 3 4 5 23 22 21 20 19 18 iupress.indiana.edu © 2018 by Valdimar Tr. Hafstein All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The paper used in this publica- tion meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992. Manufactured in the United States of America Copyright Indiana University Press Contents vii 153 Prelude: Confessions of a Postlude: Intangible Heritage Folklorist as Diagnosis, Safeguarding as Treatment 1 1. Making Heritage: 161 Introduction Conclusion: If Intangible Heritage Is the Solution, What 21 Is the Problem? 2. Making Threats: The Condor’s Flight 169 Acknowledgments 53 3. Making Lists: 173 The Dance-Band in the Hospital Works Cited 91 197 4. Making Communities: Index Protection as Dispossession 127 5. Making Festivals: Folklorization Revisited Copyright Indiana University Press Copyright Indiana University Press CHAPTER 2 Making Threats The Condor’s Flight This is a book about intangible heritage—about how a new concept and category comes into being and goes to work in the world. -
La Quena, Expresión Artística En La Música Colombiana* Oscar Javier Molina Molina** Recibido: Agosto 5 De 2013 Aprobado: Octubre 15 De 2013
63 Conservatorio del Tolima. Institución de Educación Superior. 1906 La Quena, expresión artística en la música colombiana La Quena, expresión artística en la música colombiana* Oscar Javier Molina Molina** Recibido: Agosto 5 de 2013 Aprobado: octubre 15 de 2013 Artículo de reflexión Para citar este artículo/ to reference this article Molina, O. (2013). La Quena, expresión artística en la música colombiana. Música Cultura y Pensamiento, Vol. 5, N° 5. pp: 63-84 Resumen. El presente artículo pretende dar una aproximación sobre la presencia de la Quena en Colombia desde 1970 hasta la actualidad y al mismo tiempo rastrear el trabajo de los distintos luthiers e intérpretes que mantienen viva la historia de este instrumento musical en el territorio nacional. De manera breve se introducen aspectos sobre su procedencia, evolución en cuanto a construcción e interpretación, para seguidamente indagar sobre su impacto dentro de la música colombiana. Este es el comienzo de un estudio más amplio dedicado a la Quena dentro de la música colombiana. Palabras Claves: Quena, Colombia, música latinoamericana, memoria cultural, comunidad artística. The Quena, artistic expression in Colombian music Abstract. This article aims to give an approximation about the presence of the “Quena” in Colombia since 1970 to nowadays, and at the same time, it tries to trace the work of several luthiers and performers who keep alive the history of this musical instrument in the country. Briefly, some aspects about its origin and evolution are introduced (in terms of construction and interpretation). Then it inquires about what the impact of Quena into Colombian music has been. This is the beginning of a wider study dedicated to the Quena in Colombian music. -
An Ethnomusicological Study of the Globalization of the Quena in Andean Music and the World
An ethnomusicological study of the globalization of the quena in Andean music and the world by Galo C. Bustamante A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Biology (Honors Scholar) Presented May 18, 2021 Commencement June 2021 AN ABSTRACT OF THE THESIS OF Galo C. Bustamante for the degree of Honors Baccalaureate of Science in Biology presented on May 18, 2021. Title: An ethnomusicological study of the globalization of the quena in Andean music and the world. Abstract approved:_____________________________________________________ Eric Hill This ethnomusicological study has examined the forces that have globalized the Andean instrument of the quena and the genre of Andean music as a whole. This thesis specifically addresses the cultural, and socio-political factors over the last century that has led to the quena being circulated across the globe. Much ethnographic fieldwork, and many historical accounts have been published; this thesis takes many of those works and compiles the knowledge into one unified work which tracks the movement of the quena. This was accomplished through review of the existing primary literature and compiling the relevant knowledge into one cohesive body of text. The primary findings show that there have been three waves of spread or globalization: 1) spread from urban migration fueled by Peruvian indigenista movements, 2) a cultural explosion of folkloric interests in cosmopolitan centers such as Buenos Aires and Paris, 3) politicization of the music and a folk revitalization which brought Andean music to the forefront in the 1960’s through the 1980’s in Chile and the United States. -
Valdimar Tr Hafstein
Valdimar Tr. Hafstein, Iceland Recognizing Intangible Cultural Heritage The ministry of culture in Iceland is still in the early stages of considering how to implement the convention. Considering that the convention’s executive committee still has to reach a consensus on what much of it actually means, this is perhaps not surprising. We are very curious to hear your thoughts and will be looking for viable models among other European states parties to the convention. To date, the work done in Iceland on intangible heritage is distributed among three institutions. One is the National Museum, which over the past half-century has built up an important archive of written records of intangible culture. Another is the Arnamagnean Institute that houses a large archive of sound recordings of intangible heritage. Both of these archives constitute national inventories of a sort – based on an archival paradigm of preservation that emphasizes securing textual or aural traces of traditional culture for future research and publication. The third institutional home of intangible heritage is the Department of Folkloristics and Ethnology at the University of Iceland, where I work. In fact, I wear two hats today. One is that of a university professor, the other is that of a special adviser to the Ministry of Culture and its representative to the meetings of the UNESCO committee. Considering that there is not yet much to say about Iceland’s national implementation of the convention, I will speak today more in my capacity as a scholar than as a national expert. And in my scholarly capacity, let me begin, first, with a little history, followed by a song, and then, if you’ll indulge me, I’ll tell you a story. -
El Cóndor Pasa… Y Sus Misterios
REVISTA DE CRÍTICA LITERARIA LATINOAMERICANA Año XL, No 80. Lima-Boston, 2do semestre de 2014, pp. 11-37 EL CÓNDOR PASA… Y SUS MISTERIOS Luis Salazar Mejía Escuela Nacional Superior de Folklore “José María Arguedas” Resumen Este artículo examina los rasgos generales de El cóndor pasa… en relación con su contexto cultural en el Perú de la década de 1910 y con el contexto musical mundial en el que se insertan tanto la melodía que lleva el nombre de la obra como la propia zarzuela estrenada en 1913. El trabajo desmiente algunos de los lugares comunes más frecuentes que han circulado sobre la obra de Julio Bau- douin y Daniel Alomía Robles. Palabras clave: El cóndor pasa…, música peruana, Julio Baudouin, Daniel Alomía Robles, Simon & Garfunkel. Resumen This article examines the general characteristics of El cóndor pasa… (The Condor Passes By…) in relation to its cultural context in Peru’s 1910s and the global musical context in which both the famous melody named “El condor pasa” and the musical drama itself are inserted. The article refutes some of the most frequent commonplaces about the work by Julio Baudouin and Daniel Alomía Robles. Keywords: El cóndor pasa…, Peruvian music, Julio Baudouin, Daniel Alomía Ro- bles, Simon & Garfunkel. El cóndor pasa… es la obra musical más famosa creada por un pe- ruano1 y la principal referencia musical del Perú a nivel internacio- nal. Para la mayoría, El cóndor pasa… es sólo una melodía –o una canción– que a partir de la década de 1970 y gracias a la versión del dúo Simon & Garfunkel se hizo popular en el mundo entero. -
El Cóndor Pasa… Apropiaciones Y Reapropiaciones Musicales En Globalización
REVISTA DE CRÍTICA LITERARIA LATINOAMERICANA Año XL, No 80. Lima-Boston, 2do semestre de 2014, pp. 73-86 EL CÓNDOR PASA… APROPIACIONES Y REAPROPIACIONES MUSICALES EN GLOBALIZACIÓN Ulises Juan Zevallos Aguilar Ohio State University Resumen En este artículo se aborda el proceso que “El cóndor pasa” pasó para conver- tirse en la pieza más representativa de la música andina. Esta melodía de origen quechua, que circulaba en un circuito oral en el siglo XIX, fue recopilada y anotada por Daniel Alomía Robles en 1891, fue incluida en el acompañamiento musical de la zarzuela El cóndor pasa… (1913), Paul Simon hizo un cover titulado “If I could” (1970), el grupo Trébol del Cuzco le puso letras en quechua y, fi- nalmente, el músico Delfín Garay Sosa en 2004, de una manera oblicua, para replicar la actitud de Paul Simon, hizo un cover de “Duncan” de la autoría de Simon. El autor narra este proceso como acciones de apropiaciones y reapro- piaciones que ocurren, con “fricción” (Tsing) en un contexto de globalización. Palabras clave: “El cóndor pasa”, Daniel Alomía Robles, música peruana, Paul Simon, Delfín Garay Sosa. Abstract This article describes the process by which “El cóndor pasa” happened to be- come the most representative piece of Andean music. Quechua musicians played a similar version and circulated it in an oral circuit until the end of the 19th century. It was then compiled and modified by the folklorist Daniel Alomía Robles, who included it in the musical accompaniment of the operetta El cóndor pasa… (1913 ). In 1970, Paul Simon used the song and did a cover entitled “If I could”.