{"title":"La pregunta por la forma en la música sinfónica de Oscar Strasnoy","authors":"Pablo Fessel","doi":"10.4067/s0716-27902021000100201","DOIUrl":"https://doi.org/10.4067/s0716-27902021000100201","url":null,"abstract":"espanolLa reintroduccion de los generos, asi como la diversificacion de procedimientos intertextuales en la musica de concierto a partir de los anos setenta del siglo XX, dio lugar a un intenso debate respecto de sus orientaciones esteticas e historicas. El articulo analiza dos obras del compositor argentino Oscar Strasnoy, Sum (2005-11), cuatro piezas para orquesta sinfonica; y Trois caprices de Paganini (2011), concierto para violin y orquesta. Se propone que el recurso a la historia se inscribe, en este caso, en una orientacion modernista, como un nominalismo estetico que desprende las obras de sus contextos (historicos o estilisticos), identificando elementos de modernidad en las expresiones del pasado, que entran en dialogo con el pensamiento musical contemporaneo. EnglishThe reintroduction of genres in late twentieth-century concert music, as well as the diversification of intertextual procedures, resulted in an intense debate regarding their aesthetic and historical orientations. The article analyzes two works by the Argentinean composer Oscar Strasnoy: Sum, four pieces for symphonic orchestra (2005-11); and Trois caprices de Paganini (2011), a concert for violin and orchestra. It is proposed that the appeal to history is inscribed in this case in a late-modernist orientation, as an aesthetic nominalism that detaches the works from their contexts (historical or stylistic), identifying elements of modernity in expressions of the past that enter into a dialogue with contemporary musical thought.","PeriodicalId":44157,"journal":{"name":"Revista Musical Chilena","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47498885","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Repertorio, historia y vivencias en la retaguardia: La Banda Municipal de Música de Cuenca en la Guerra Civil Española","authors":"Virginia Sánchez-Rodríguez","doi":"10.4067/s0716-27902021000100240","DOIUrl":"https://doi.org/10.4067/s0716-27902021000100240","url":null,"abstract":"","PeriodicalId":44157,"journal":{"name":"Revista Musical Chilena","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70266540","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"El dulce reato de la música: la vida musical en Santiago de Chile durante el periodo colonial","authors":"Enrique Vasconcelos-Vargas","doi":"10.4067/s0716-27902021000100242","DOIUrl":"https://doi.org/10.4067/s0716-27902021000100242","url":null,"abstract":"","PeriodicalId":44157,"journal":{"name":"Revista Musical Chilena","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70266969","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Música y transferencia de habilidades: revisión bibliográfica descriptiva para el siglo XXI","authors":"Felipe I. Porflitt-Becerra","doi":"10.4067/s0716-27902021000100177","DOIUrl":"https://doi.org/10.4067/s0716-27902021000100177","url":null,"abstract":"The skills required to appreciate music or play musical instruments are diverse. Some of them are simple, and others require development over time given their complexity, which generally responds to the perseverance of the study of music itself. From the point of view of the discipline, the value of music for humanity has not taken any doubt in any era. However, from other disciplines, the scope of music outside itself generates various types of questions. There is meta-analytical evidence that tends to show that the effects of music may be over-estimated in their transfer of skills (Sala & Gobet 2017), but it becomes contradictory when we thoroughly review what literature offers in recent years. Considering that problem, this article describes how research has been distributed inside and outside the music discipline during the 21st century. A detailed literature search shows that the number of articles that investigate for the transfer of near and far skills has been increasing in the last 20 years, with far skills being the ones that show the greatest growth and leaving aside some topics that would be interesting to investigate in future research.","PeriodicalId":44157,"journal":{"name":"Revista Musical Chilena","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46308437","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"¡Coreografía, música… acción! Caracterización y patrones gestuales de los juegos de manos en castellano","authors":"Joanna Riera-Martínez, Albert Casals-Ibáñez","doi":"10.4067/s0716-27902021000100101","DOIUrl":"https://doi.org/10.4067/s0716-27902021000100101","url":null,"abstract":"","PeriodicalId":44157,"journal":{"name":"Revista Musical Chilena","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70266194","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Lions of the North. Sounds of the new nordic radical nationalism","authors":"Nelson Rodríguez Vega","doi":"10.4067/s0716-27902021000100249","DOIUrl":"https://doi.org/10.4067/s0716-27902021000100249","url":null,"abstract":"","PeriodicalId":44157,"journal":{"name":"Revista Musical Chilena","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48334794","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Música condenada a vivir: patrimonio y resiliencia del organillo chileno","authors":"René Silva Ponce, Rodrigo F. Cádiz","doi":"10.4067/s0716-27902021000100026","DOIUrl":"https://doi.org/10.4067/s0716-27902021000100026","url":null,"abstract":"In 1962 the Chilean writer Jose Donoso published in Ercilla magazine an article entitled “Music Sentenced to Die”, which foretold the unavoidable disappearance of street barrel organs in Chile. The organ grinder job was not attractive to the young anymore, and Enrique Venegas, who (according to Donoso) was the unique street barrel organ technician in the country, did not train anyone else in his trade. Effectively after Venegas’ death, street barrel organs faced a difficult time. Nevertheless, and against all odds, these instruments survived and are utilized to the present. This paper reviews this history of resilience and expect to deepen some confusing historical aspects that the scarce bibliography about the topic has forgotten. To reach this goal, this research focused on three iconic people: Lazaro Kaplan, Enrique Venegas y Manuel Lizana Quezada, reviewing three important stages of the Chilean barrel organ history. First, when the organ grinder job was born with the arrival of the first instruments to Chile. Second, we characterize the rise and fall of Chilean barrel organs, and finally we study the recovery period, its current situation, and its projection to new generations.","PeriodicalId":44157,"journal":{"name":"Revista Musical Chilena","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41667489","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}