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

We propose a theoretical framework of a set of guidelines for a methodology of analysis of the listener experience in acousmatic music. A critical review of the relevant literature is presented in order to point out principles, guidelines or convergences, in relation to certain approaches from the musical analysis. These are justified in terms of their relevance to the discipline, particularly as relate to the conceptual framework developed by Stéphane Roy and François Delalande, which stems from the field of cognitive linguistics. Considering the cases examined by Roy and Delalande, it seems clear that the subjects reporting their listening experience resort to a set of cognitive metaphors, such as image schemes and fictitious movement. These have been studied and described as theoretical constructs both linguistically and neuroanatomically. The cognitive metaphors are likely to be used by auditors of acousmatic music to describe their listening experience, considering that acousmatic music makes an extensive use of sound spatialization techniques, and that every description is a linguistic report of a listening experience. On the basis of this, we propose the development of a mixed methodology, both qualitative and experimental, designed to ascertain on an empirical basis the subjective experience of the subjects and, at the same time, establish correlations between the experience and the acoustic trace.

Since the mid-nineteenth century the name of Pedro Ximénez Abrill Tirado has been known in musicological and historiographical studies. However, his role and relevance as composer has been acknowledged only recently in the study of historical repertoires of South America, with the discovery of scores containing his music in a private collection in Bolivia, which was later acquired by various archives and individuals. In spite of this, biographical accounts on him have kept using the same information for decades, and mythical constructions have increased rapidly during the last decade. This paper presents a new biographical picture of Pedro Ximénez, with a broader understanding of the context surrounding his life and works along with the transition of his life between Peru and Bolivia, on the basis of important new sources gathered by both authors through research in various archives.

The aim of the research leading to this article is the understanding of how Latin American immigrant musics in Santiago de Chile during 1990-2015 relate to identity, sociability and imaginaries of the communities that bring them to life. Through field observations and comprehensive interviews, several interrelating experiences of music and immigration are analyzed, focusing on the music scene of the Peruvian community in Santiago. Firstly the historical background of the musical practices in question are considered in terms of their country of origin. Next their changes in Santiago are discussed, in terms of how networks and new music spaces come about as a result of the migratory experience. A special emphasis is given to the study of the individual lives of the artists that act as protagonists of these music migration processes, as well as of the imaginaries mobilized therein, which we consider can lead to the emergence of new cultural mestizajes.

The study of liturgical chant fragments has a well established historiographical tradition. However, in Latin America few scholarly contributions have been focused on this type of written sources, being almost nonexistent in Chile. Thus, this paper makes a innovative review on the studies on fragments of Gregorian chant in the country to subsequently locate, identify and describe the findings. Despite the limited sample found, we will offer some significant results and conclusions.