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Resonancias Nº15 Nº ISSN 0717-3474 Resonancias Nº 15 Noviembre 2004 Publicación semestral del Instituto de Música, Facultad de Artes de la Pontificia Universidad Católica de Chile, Jaime Guzmán Errázuriz 3300. Santiago - Chile Director Instituto de Música Octavio Hasbun R. Director Resonancias Alejandro Guarello F. Comité Editorial: Juana Corbella, Alejandro Guarello, Octavio Hasbun, Osear Ohlsen, Carmen Peña, Víctor Rondón y Rodrigo Torres. Colaboran en este número César Albornóz, Daniela Banderas, Paulo Castagna, Juana Corbella, Gabriel Gálvez, Carmen Peña, Víctor Rondón, Evguenia Roubina, Alejandro Vera y Leonardo Waisman. Las opinjones aquí vertidas son de exclusiva responsabilidad de sus autores. Edición Alejandro Guarello y Carmen Peña Secretaría y Ventas: Oficina de Extensión IMUC, tel.: 354 5098 Fax: 354 5250 Suscripción anual: Chile:$ 9.000 pesos, Extranjero US$ 34 Dls. Incluye envío postal Otras publicaciones de la Facultad de Artes U.C. Revista Apuntes de Teatro, tel.: 354 5083 - Revista Cuadernos de la Escuela de Arte, tel.: 354 5546 www.puc.cl/artes PONTIFICIA UNIVERSIDAD CATÓLICA DE CHILE FACULTAD DE ARJES INSTITUTO DE MUSICA REVISTA RESONANCIAS: PAUTA EDITORIAL l. Revista Resonancias recibe colaboraciones inéditas en español sobre música. 2. Se privilegiará la publicación de artículos sobre Chile y Latinoamérica. La sección "Estudios" está destinada a comunicaciones de investigación, en tanto que "Reflexiones" a ensayos. 3. Los textos se envían por correo al Director de Resonancias, Alejandro Guarello. Dirección: Instituto de Música, Campus Oriente, P. Universidad Católica de Chile, Avda. Jaime Guzmán Errázuriz 3300, Providencia, Santiago, Chile. 4. Los autores deben remitir 2 copias impresas a doble espacio del trabajo, un resumen que no exceda las 400 palabras, una breve reseña biográfica del o los autores donde, además, se indique su dirección y un disquete con las características que se detallan en el Nº 6. S. La extensión máxima de los textos para "Estudios" es de 8.000 palabras, incluyendo la bibliografía. Si consignan láminas, gráficos y/o ejemplos musicales se debe considerar su equivalencia. El número de palabras para los ensayos de "Reflexiones" es de 3.200. 6. Los textos se remitirán junto a un disquette en programa Word. Los ejemplos musicales se recibirán en programa Finale, Sibelius, Encore o escaneados como ilustración. 7. Todo ejemplo musical, gráfico o ilustración debe estar claramente ubicado e indicado en el texto impreso. El nombre y apellidos del autor así como la actividad e institución a que pertenece (si corresponde) se colocará a continuación del título del trabajo. 8. Las notas de los anículos se pondrán a pie de página y numeradas correlativamente. La bibliografía, organizada alfabéticamente, se ubicará al final del artículo. 9. Los permisos de reproducción de material sujeto a derechos de autor son de exclusiva responsabilidad de los autores. 10. Los trabajos serán evaluados para su publicación por el Comité Editorial de Resonancias, pudiendo éste convocar a personas externas para su consideración. La resolución es inapelable. 11. Resonancias se reserva el derecho de efectuar correcciones de 1igor editorial de los anículos aceptados. 1 Indice HOMENAJE 05 Carmen Peña Samuel Claro Valdés (1934 - 1994). A diez años de su partida CELEBRACIÓN 50 AÑOS 07 Víctor Rondón Música antigua, nueva memoria. Panorama histórico sobre el movimiento en Chile REFLEXIONES 47 Leonardo J. Waisman Haciendo un balance ¿Existe una "musicología" iberoamericana? TESTIMONIOS 53 Varios autores 6 Conjuntos activos en la práctica de la Música Antigua en Chile. Sus objetivos, reseña histórica e integrantes ESTUDIOS 67 Jurado IV Premio Acta de premiación del IV Premio de Musicología Samuel Claro Valdés 71 Evguenia Roubina Aportes para el estudio de la música orquestal en la Nueva España: obras instrumentales de Ignacio Jerusalem 97 Paulo Castagna A nota<;:iio proporcional em manuscritos musicais brasileiros do seculo XVIII COMENTARIOS 120 Daniela Banderas Ensamble Contemporáneo Pierrot Lunaire op. 21 Schoenberg, Lefever, Schidlowsky, Vila 122 Gabriel Gálvez Aliosha Solovera Música de Cámara 125 Alejandro Vera Y chepe Flauta Música para flauta dulce colonial americana de los siglos XVI al XVIII 2 129 César Albomóz Salas Zúñiga, Fabio La primavera terrestre. Cartografías del rock chileno y la Nueva Canción Chflena 132 Alejandro Vera Reseña del coloquio Orígenes y desarrollo de la Música Antigua en Chile BITACORA 137 Juana Corbella Bitácora de Actividades IMUC mayo 2004 - agosto 2004 3 Editorial Resonancias, en esta oportunidad, se suma a la celebración de los 50 años de práctica y desarrollo del estudio e interpretación en Chile de la así llamada Música Antigua. Por esta razón en esta edición se incluyen artículos y secciones en tornoa la historia, a las problemáticas y logros de diferentes músicos y conjuntos vinculados a este importante campo de acción en la actividad musical contemporánea. Con motivo de cumplirse diez años del fallecimiento de Samuel Claro Valdés, este número está dedicado a su memoria. Carmen Peña, a modo de homenaje, lo recuerda a través de dos de sus obras más difundidas: La Cueca o Chilena Tradicional y Antología de la Música Colonial en América del Sur. Le sigue a este tributo, un exhaustivo trabajo de Víctor Rondón en el cual se revisan detalladamente antecedentes, desarrollo y proyecciones de la actividad de la Música Antigua en Chile. En nuestra sección Reflexionespresentamos un artículo del musicólogo argentino Leonardo Waisman, en el cual pone en discusión el problema de la interpretación de la música colonial americana en relación a sus fuentes. En Testimonios aportamos antecedentes de algunos conjuntos activos chilenos en la interpretación y estudio de la música antigua. La sección Estudios está dedicada al IV Premio de Musicología Samuel Claro Valdés 2004. Incluye el Acta de Premiación correspondiente y el trabajo de la musicóloga mexicana Evguenia Roubina, ganadora de esta versión, titulado "Aportes para el estudio de la música orquestal en la Nueva España: obras instrumentales de Ignacio Jerusalem". Completa esta sección el trabajo de Paulo Castagna "A notac;ao proporcional em manuscritos musicais brasileiros do seculo XVIII'', publicado en su idioma original. De este modo, hemos querido abrir nuestro espacio a los investigadores y lectores brasileños e incorporar en propiedad a toda la comunidad latinoamericana. Se cierra este número con nuestras habituales secciones Comentarios y Bitácora que dan cuenta de publicaciones, eventos y actividades realizadas en Chile en los últimos meses. Alejandro Guarello 4 HO MENAJE HOMENAJE A SAMUEL CLARO VA LDÉS (1934 - 1994) HOMENAJE 5 Este año cumpliría 70 años quien hace una década -el 10 de octubre 1994- dejó de acompañarnos: Samuel Claro Valdés, musicólogo, profesor del Instituto de Música de nuestra universidad. Diversas fueron las labores que él desarrolló en esta casa desde que se integró en 1982, y con anterioridad en la Universidad de Chile. No obstante, siempre consideró que su hacer más propio era la musicología SAMUEL CLARO VALDES (1934 - 1994) A diez años de su partida Carmen Peña Fuenzalida Instituto de Música Pontificia Universidad Católica de Chile y la comunicación de sus investigaciones. Por ello, en este homenaje que revista Resonancias rinde a su memoria, quiero brevemente recordar dos de sus más queridas obras que también, este año, cumplen una suerte de aniversario: La Cueca o Chilena Tradicional y la Antología de la Música Colonial en América del Sur, ambos producto de un largo trabajo investigativo. La Cueca o Chilena Tradicional fue su último libro (Santiago: Ediciones Universidad Católica de Chile, 1994) y su presentación pública se realizó poco antes de su fallecimiento. En esa oportunidad, a través de un escrito de su propia mano, que me correspondió leer, Samuel Claro hizo saber a la concurrencia Ja enorme importancia que tuvo la "asociación cultural" que estableció con el cultor don Fernando González Marabolí, con quien trabajó tantos años. y el significado que le asignaba a la publicación. Al respecto escribió: "El libro sobre la cueca o chilena tradicional [ . ..] no se trata de un libro cualquiera, sino que constituye un documento genuino de algo que es muy difícil de conseguir: un testimonio directo, proveniente de la tradición oral, a veces perdida, reflejada en páginas que cualquiera pueda recorrer, asombrarse de ellas, interpretarlas y, sobre todo, preservarlas para las generaciones del futuro". Junto a esto, también en esa ocasión reveló algunos de los riesgos que corría cuando inició esta empresa, recordando que "muchas teorías se han construido respecto a qué es, cómo es y de dónde viene nuestra danza nacional"; pero a pesar de ello, y de los "sugestivos arriscamientos de narices de probos investigadores, tanto del país como del extranjero" -como también señaló-, se aventuró en el estudio de una proposición diferente: la raigambre arábigo-andaluza "de esta forma poético musical, en la que intervienen el canto, los instrumentos musicales y la danza", como reza la contraportada del libro. Más allá de la concordancia o discrepancia de opiniones respecto de esta visión, por esos años poco o nada se sabía de esta cueca urbana, sumergida en lugares escondidos, guardada celosamente por sus cultores y, por tanto, desconocida para el mundo ilustrado. Después de una década, aún resulta provocador tanto el contenido como el formatodel libro, elaborado a través de un dialógico contrapunto entre la voz de la tradición y la de la academia,
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