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

In this article, the opera Lautaro (Chile, 1902) by Eliodoro Ortiz de Zárate is analyzed in search of elements that construct identities. Through the review of different structures of musical parameters, identification of musical motifs and their operation in the work, it is possible to recognize the mechanisms of representation of the indigenous and Spanish subjective identities in opera. It is proposed that the musical construction of identities is linked to Latin American nationalist movements in which indigenous figures were presented as a differentiating element of the European tradition.

This article reconstructs the first ten years of the musical career of the Chilean flutist Ruperto Santa Cruz, which represents the first professional experience in the flute at the concert level that occurred in the country and that until now had not been studied. It covers his musical training and contact with the Italian virtuoso Achille Malavasi in 1856, up to his concerts with Louis Moreau Gottschalk in 1866, making a tour of his performances through the press testimonies of Santiago and Valparaíso. Although he was a multifaceted musician, since during his career he also cultivated composition, teaching, band and orchestra conducting, and music publishing and journalism, the modern flute, of the Boehm system, was the element that defined him artistically. The reflection points out that, even though the memory of Ruperto Santa Cruz’s concert activity has vanished, his recovery contributes to a broader understanding of instrumental performance and concert music in Chile during the 19th century.

Folklore was a specialized Argentine publication that offered information related to musicians’ presentations, the commercial activity linked to folklore and its diffusion, although it was not exempt from the tensions that were formed around this scene of popular urban music. With the aim of showing how humor can be a critical tool and, furthermore, can be work as a strategy to legitimise the “música de proyección folclórica”, this work analyses the records reviews signed by Eduardo Lagos in this magazine during the years 1967 and 1968. To this end, it succinctly reviews the history of Argentine folk music during the 20th century, mentions the tensions produced during the period that was called the “boom del folklore” and appeals to the most prominent theories of verbal humor.

This article describes a rap home studio in the suburbs of Buenos Aires linking aesthetic, social, and material dimensions to explain how a rap space is produced. Using the native category of “cultural center”, it is argued that home studios are relevant for understanding contemporary ways of doing and relating to music in this city, in which digitization converges with the gradual popularization of rap since 2010. Analyzing the architectural characteristics of the studio, its equipment, the actions of “ranchar” –sharing in confidence– and “producir” –making music–, the importance of ‘demarcation operations’ is proposed, regarding the creation of borders and bridges between internal spaces of the studio and its separation from the outside; and the specificity in the elaboration of a sound. To show these processes, data was obtained from an ethnography, in which participant observation, interviews, and song analysis converged. It is concluded that, in order to observe this home studio as a space of resistance, it is essential to regard its density and complexity.

Using a transphonographic model, this article examines the Chilean discography created during exile in Europe between 1973 and 1990. Through the study of numerous phonograms, we propose to understand the record as an object key to make visible the aesthetic transformations and to understand, in this sense, some characteristics of the Chilean exile. To show the artistic connections in a broad sense, aspects such as record production, commercial circulation, and intercultural musical receptions were examined. We identify the aspects that interacted in the recording process: the musicians (amateurs and professionals), the graphic imagery of the exiled artists, the experimentation with technologies, and the updating of musical styles. Considering arrangement, performance, and recording as three interconnected dimensions, we analyzed series of cases of musical covers and self-covers that represent different ways of handling emotions through vocal practices and the use of the soundbox. All these elements reveal the potential of music records as a cultural object of exile and demonstrate the richness of the transphonographic model.

This work aims to carry out an analysis of the theme “Cai Cai Vilú” by Víctor Jara, from both its poietic and cultural aspects. To achieve this, the concept of wild thought by Lévi-Strauss and the application that María Ester Grebe made of it when analyzing dualism in Mapuche culture is established as a reference framework. An important goal will be to determine how Jara uses and puts the musical and cultural materials at the time of creation of this piece into play, and what is its relationship with the social context of the time.

This article studies the resources available throughout the history of the modern piano for learning piano technique. It is structured in two parts. In the first place, the evolution of advanced level didactic works is collected, from the first methods of the 19th century for the modern piano to the present. Secondly, it describes the actuality of piano technique learning process in Spanish regulated centers that teach Higher Arts Education in the major of Interpretation. For this, a quantitative study was carried out using a questionnaire. The conclusions indicate that the students are based on texts dating from the 19th century and the first half of the 20th century, Chopin’s studies being the most widely used. In addition, there is a preeminence of the study of digital technique by means of scale formulas, which does not prepare for the execution of the entire required repertoire. A factor analysis revealed that students can be grouped into seven categories, based on their conceptions about learning piano technique.

This work communicates the theoretical and methodological tensions of the critical edition of the manuscript of Treinta Cantos Araucanos by Carlos Isamitt Alarcón, collected in the reductions of the 1930s. The first part describes the object of study and the theoretical basis discussion in the development of the edition –text–. Subsequently, and because of the theoretical positions discussed in the first section, editorial positions are made explicit with examples of song editing, data systematization and achievement of two finished scores. In the second part, and because of the aforementioned reflections, we present documentary evidence that links this ethnographic work with a declared political defense of the communities under study –context–. In the third part, conclusions and discussions, we propose that the critical edition of Treinta Cantos Araucanos by Carlos Isamitt Alarcón projects a methodological approach for objects of study related to the musical compilation and transcription of folk music; extending the theoretical possibilities for its understanding –text-context– and extrapolating the limits of transcription and its subsequent editorial fixation. On the figure of Carlos Isamitt, unpublished aspects developed during the compilation of Araucan songs are exposed, displacing this univocal idea supported by the literature that he only compiled musical material to be used in his musical creation.