Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

This article contributes unknown information and new hypothesis about the cultivation of the melologue in the Hispanic area, taking as case-study The sensitive black, melodrama written by the popular playwright Luciano Comella and released in Madrid in 1798. To the fact of being one of the scanty melologues of American subject (it deals with the slavery as seen by the new illustrated rationality), it joins its quick arrival to Mexico City, where it was performed in 1805 and José Joaquín Fernández de Lizardi wrote a second part in 1825. After a brief introduction to the music-dramatical genre of the melologue, the first section gathers dispersed information about the vicissitudes of The sensitive black in the public theatres of Madrid and the New World. The second part focuses on the musical setting that Ramón Garay, chapel master of Jaen Cathedral, composed for the marquesses of the Cerro de la Cabeza in a productive context till now unexplored for this short lyric-theatrical pieces such as the private sphere of nobility. With the intention of making a contribution to the succinct list of melologues available in modern edition, I offer a musical transcription of Garay’s piece. Thus, the article underlies in the need to study the processes of exchange between both shores and the changing dramaturgical contexts of short theatrical genres with music, in particular of the melologue.

This paper deals with the presence of Latin American musical vanguards in Madrid during the decade of the 1950s and 1960s, focusing on the reception of new musical trends by the young generation of Spanish composers –the so- called “Generation of 51”, as well as analyzing the cultural policies of Franco’s regime as regards musical exchanges. The role played by the Chilean composers Gustavo Becerra-Schmidt and Pablo Garrido in the diffusion of twelve-tone technique in Spain has also been studied. The attention provided to these musicians in the 1950s was minimal in comparison with the official propaganda of events such as the Biennial on Contemporary Music and the Festival of Music of the Americas and Spain (1964). The latter was used by the regime to promote the internationalism of Spanish avant-garde music. In addition, it also served to defend the idea of a shared Hispanic culture, now oriented to the adoption of serial music by both groups of composers as a metaphor of modernity.

The present work is part of a wider research that was proposed to detect, describe and interpret the stylistic features of the songs of argentine rock musician Charly García, in his first period. This stage, in which he recorded most of his compositions, cover from the first album of the group Sui Géneris, Vida (1972/3) to Say no more of 1996. In this research it was observed that a set of melodic-harmonic distinctive characteristic of the rock traverse its work in different ways. In this publication I show how Charly’s concern to be considered a rock musician is one of the impulses of his style and it is manifested in the combination between the properly rock’s features and those of the harmony of ‘common practice’.

This article analyzes the role and the value that the intellectual Juan Egaña Risco (1769-1836) recognized to music in his educational essays and curricular proposals, in the context of the independence of Chile and the configuration of its republican system. Inspired by the theories of ancient Greek philosophers, such as Plato and Aristotle, and convinced that education should be oriented to the integral formation of virtuous citizens, Egaña considered that music was an essential discipline. Through it, it would be possible to prepare students to learn aesthetic and ethical distinctions, as well as to inspire learning in other areas of knowledge, which would contribute to citizen education.