海托尔-比利亚-洛博斯与安德烈斯-塞戈维亚吉他曲目中的殖民痕迹

IF 0.2 1区 艺术学 0 MUSIC
Luis Achondo
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引用次数: 0

摘要

安德烈斯-塞戈维亚(Andrés Segovia)的曲目--"塞戈维亚曲目"(repertorio segoviano)--对吉他经典的形成起到了至关重要的作用。尽管一些吉他学者认为这些作品有助于将吉他从艺术音乐的边缘拯救出来,但另一些学者则认为,塞戈维亚委约了一些次要的、保守的作曲家的作品,从而错过了委约二十世纪最有影响力的现代音乐家的作品的机会。本文质疑塞戈维亚曲目的保守同质性。我以塞戈维亚与海托尔-比利亚-洛博斯(Heitor Villa-Lobos)的合作为重点,论证了其中包含的殖民主义痕迹:殖民统治在拉丁美洲的延续。塞戈维亚与比利亚-洛博斯之间的关系比官方说法更具争议性--紧张关系源于他们的主导个性、不同的吉他创作方法以及相互冲突的音乐意识形态。事实上,虽然塞戈维亚的立场与佛朗哥主义和欧洲保守主义美学一致,但比利亚-洛博斯却拥护一种跨文化的音乐方法,这种方法是对殖民主义权力的塑造、回应和发挥。本文最终强调,来自边缘地区的精英作曲家在二十世纪吉他的现代化进程中发挥了至关重要的作用,从而对那些将吉他与殖民差异和殖民权力的社会、政治和文化混乱割裂开来的史论提出了质疑。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Heitor Villa-Lobos and the Traces of Coloniality in Andrés Segovia's Guitar Repertoire
Andrés Segovia's repertoire—the repertorio segoviano—has crucially shaped the guitar canon. Although some guitar scholars argue that these works helped rescue the instrument from the periphery of art music, others contend that, by commissioning music from minor, conservative composers, Segovia missed the chance to request pieces from the most influential twentieth-century modernists. This article questions the conservative homogeneity of the repertorio segoviano. Focusing on Segovia's collaborations with Heitor Villa-Lobos, I argue that it contains traces of coloniality: The perpetuation of colonial domination in Latin America. The relationship between Segovia and Villa-Lobos was more contentious than the official narrative suggests—tensions stemming from their dominant personalities, divergent approaches to guitar composition, and conflicting musical ideologies. Indeed, although Segovia's stance aligned with Francoist and European conservative aesthetics, Villa-Lobos embraced a transcultural approach to music shaped by, a response to, and exertion of the coloniality of power—discrepancies that were engraved in their collaborations and ultimately the repertorio segoviano. This article ultimately foregrounds that elite composers from the periphery played an essential role in the modernization of the guitar in the twentieth century, thereby questioning historiographies that detach the instrument from the social, political, and cultural messiness of colonial difference and the coloniality of power.
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