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Editorial n° 44 社论n°44
IF 0.1 3区 艺术学
Resonancias Pub Date : 2019-06-01 DOI: 10.7764/res.2019.44.1
Miguel Angel Marín
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引用次数: 0
José Herrando resucitado… ¿otra vez? Historia de una “recuperación” jose Herrando又复活了?“复苏”的历史
IF 0.1 3区 艺术学
Resonancias Pub Date : 2019-06-01 DOI: 10.7764/RES.2019.44.3
A. Lombardía
{"title":"José Herrando resucitado… ¿otra vez? Historia de una “recuperación”","authors":"A. Lombardía","doi":"10.7764/RES.2019.44.3","DOIUrl":"https://doi.org/10.7764/RES.2019.44.3","url":null,"abstract":"The sonatas for violin and accompaniment by José Herrando (Valencia, ca. 1720–Madrid, 1763) have undergone various transformations since the 1920s, reflecting a process of continuous ‘re-creation’ that illustrates the latest notions of ‘musical work’. Changes in performance practice, especially the emergence of Historically Informed Perfomance since the 80s, have given rise to several waves of revival for Herrando’s music, from different perspectives. In this process, key figures of Hispanic musicology and ‘early music’ have participated, including José Subirá, Joaquín Nin, and Emilio Moreno, together with less remembered musicians, such as Josefina Salvador. This process is still ongoing, as shown by recent performances by Fabio Biondi, the finalists of the Francesco Maria Ruspoli Competition, or Concerto 1700. 1. Esta investigación ha sido realizada en el marco del proyecto I+D Musicología aplicada al concierto clásico en España (ref. HAR2014-53143-P) y con apoyo de una ayuda Juan de la Cierva Formación (ref. FJCI-2015-26902), ambos financiados por el Ministerio de Economía y Competitividad de España. 37 Fecha de recepción: 22-01-2019 / Fecha de aceptación: 11-03-2019 Resonancias vol . 23, n°44, enerojunio 2019, pp. 37-68 / Art ículos","PeriodicalId":41600,"journal":{"name":"Resonancias","volume":"43 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83183318","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Festival Internacional de Música Contemporánea de Camagüey: un hecho inédito en la Cuba de finales del siglo XX y principios del XXI camaguey国际当代音乐节:20世纪末和21世纪初古巴前所未有的事件
IF 0.1 3区 艺术学
Resonancias Pub Date : 2019-06-01 DOI: 10.7764/RES.2019.44.10
Iván César Morales Flores
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引用次数: 0
Sinécdoque, microhistoria y una reseña musical cubana de 1965 sinecdoque，微观历史和1965年古巴音乐评论
IF 0.1 3区 艺术学
Resonancias Pub Date : 2019-06-01 DOI: 10.7764/RES.2019.44.8
Alejandro L. Madrid
{"title":"Sinécdoque, microhistoria y una reseña musical cubana de 1965","authors":"Alejandro L. Madrid","doi":"10.7764/RES.2019.44.8","DOIUrl":"https://doi.org/10.7764/RES.2019.44.8","url":null,"abstract":"El 7 de abril de 1965, Federico Smith (1929-1977) publicó una reseña musical en el periódico Hoy de La Habana, Cuba. La reseña documenta tres eventos: el próximo recital de clarinete y piano que Paquito D’Rivera (n. 1948) y Tania León (n. 1943) ofrecerían como parte del inicio del programa musical de la recientemente formada Brigada Hermanos Saíz; un recital de guitarra en el que Leo Brouwer (n. 1939) y Jesús Ortega (n. 1935) interpretaron las Micropiezas (1957) de Brouwer, hoy reconocida como una obra clásica del repertorio para dos guitarras, y la Música para guitarras (1958) de Carlos Fariñas (1934-2002); y una representación de la obra musical Mi solar por parte del Teatro Musical de La Habana. Propongo que retomar el principio de Bruno Latour que Benjamin Piekut aplica en Experimentalism Otherwise, “seguir a los actores” incluso cuando parecieran llevarnos fuera del marco de la reseña per se (Piekut 2011, 8), nos puede ayudar a entender esta nota como algo más que un simple ejercicio de periodismo cultural, para verla como un espacio microhistórico, un punto de entrada para explorar contradicciones, continuidades y silencios en la retórica sobre música en los primeros años de la Revolución cubana.","PeriodicalId":41600,"journal":{"name":"Resonancias","volume":"11 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82102096","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Sato Besoaín, Eduardo. 2018. Con mi voz sonora. Campanas y toques de campana en la Catedral y otros templos históricos de Santiago (1789-1899). Santiago: Ediciones Universidad Alberto Hurtado. Sato besoain, Eduardo, 2018。用我响亮的声音。圣地亚哥大教堂和其他历史寺庙的钟和钟声(1789-1899)。圣地亚哥:Ediciones Universidad Alberto Hurtado。
IF 0.1 3区 艺术学
Resonancias Pub Date : 2019-06-01 DOI: 10.7764/res.2019.44.11
J. M. Candela
{"title":"Sato Besoaín, Eduardo. 2018. Con mi voz sonora. Campanas y toques de campana en la Catedral y otros templos históricos de Santiago (1789-1899). Santiago: Ediciones Universidad Alberto Hurtado.","authors":"J. M. Candela","doi":"10.7764/res.2019.44.11","DOIUrl":"https://doi.org/10.7764/res.2019.44.11","url":null,"abstract":"","PeriodicalId":41600,"journal":{"name":"Resonancias","volume":"19 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73658220","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Documentos para una historia del grupo de vanguardia Tonus (1952–1959) 前卫团体Tonus的历史文献(1952 - 1959)
IF 0.1 3区 艺术学
Resonancias Pub Date : 2019-06-01 DOI: 10.7764/RES.2019.44.7
Daniela Fugellie
{"title":"Documentos para una historia del grupo de vanguardia Tonus (1952–1959)","authors":"Daniela Fugellie","doi":"10.7764/RES.2019.44.7","DOIUrl":"https://doi.org/10.7764/RES.2019.44.7","url":null,"abstract":"Los documentos aquí recopilados reflejan algunos hitos en la historia de Tonus, sus protagonistas y los ejes de su repertorio. Si bien este grupo ha sido reconocido como pionero en el cultivo de la música de vanguardia en Chile, hasta ahora pocos autores han profundizado en su historia. En base a los numerosos documentos consultados para la realización de mi tesis doctoral, se presenta aquí una selección de fuentes que podrá ser relevante para ahondar en la historia del grupo y sus antecedentes.","PeriodicalId":41600,"journal":{"name":"Resonancias","volume":"42 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73786679","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Os Menestréis de Lisboa (1960-1972): Santiago Kastner y la interpretación de la música barroca en Portugal Os menestreis de Lisboa(1960-1972):圣地亚哥·卡斯特纳与葡萄牙巴洛克音乐的诠释
IF 0.1 3区 艺术学
Resonancias Pub Date : 2019-06-01 DOI: 10.7764/RES.2019.44.4
Sonia Gonzalo Delgado, F. March
{"title":"Os Menestréis de Lisboa (1960-1972): Santiago Kastner y la interpretación de la música barroca en Portugal","authors":"Sonia Gonzalo Delgado, F. March","doi":"10.7764/RES.2019.44.4","DOIUrl":"https://doi.org/10.7764/RES.2019.44.4","url":null,"abstract":"","PeriodicalId":41600,"journal":{"name":"Resonancias","volume":"14 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74329424","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
“Sobre el ‘Clasicismo’ y el ‘Romanticismo’ musical” de Alba Herrera y Ogazón “论阿尔巴·埃雷拉和ogazon的‘古典主义’和‘浪漫主义’音乐”
IF 0.1 3区 艺术学
Resonancias Pub Date : 2019-06-01 DOI: 10.7764/RES.2019.44.6
Yael Bitrán Goren, Cenidim-Inba
{"title":"“Sobre el ‘Clasicismo’ y el ‘Romanticismo’ musical” de Alba Herrera y Ogazón","authors":"Yael Bitrán Goren, Cenidim-Inba","doi":"10.7764/RES.2019.44.6","DOIUrl":"https://doi.org/10.7764/RES.2019.44.6","url":null,"abstract":"","PeriodicalId":41600,"journal":{"name":"Resonancias","volume":"23 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89477259","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Lifchitz, Max. 2014. Ars Nostra Plays Max Lifchitz. The Ars Nostra Ensemble, North/South Consonance N/S R 1058,CD. Max Lifchitz, 2014。Ars Nostra扮演Max Lifchitz。诺斯特拉乐团，南北谐音N/S R 1058,CD。
IF 0.1 3区 艺术学
Resonancias Pub Date : 2019-06-01 DOI: 10.7764/res.2019.44.13
Hermann Hudde
{"title":"Lifchitz, Max. 2014. Ars Nostra Plays Max Lifchitz. The Ars Nostra Ensemble, North/South Consonance N/S R 1058,CD.","authors":"Hermann Hudde","doi":"10.7764/res.2019.44.13","DOIUrl":"https://doi.org/10.7764/res.2019.44.13","url":null,"abstract":"","PeriodicalId":41600,"journal":{"name":"Resonancias","volume":"3 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84240957","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
La procesión de Próspero Bisquertt: instituciones y mediaciones en torno a una obra chilena en proceso de canonización y la trayectoria de su compositor 普洛斯彼罗·比斯奎特的游行:智利作品被封为圣徒的制度和调解及其作曲家的职业生涯
IF 0.1 3区 艺术学
Resonancias Pub Date : 2019-06-01 DOI: 10.7764/RES.2019.44.5
Cristián Guerra Rojas
{"title":"La procesión de Próspero Bisquertt: instituciones y mediaciones en torno a una obra chilena en proceso de canonización y la trayectoria de su compositor","authors":"Cristián Guerra Rojas","doi":"10.7764/RES.2019.44.5","DOIUrl":"https://doi.org/10.7764/RES.2019.44.5","url":null,"abstract":"","PeriodicalId":41600,"journal":{"name":"Resonancias","volume":"31 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85315849","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
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