«Le cayó la gota fría» Formación, trabajo y economías de la música popular en América Latina = Formação, trabalho e economias da música popular na América Latina. Actas del XIV Congreso de la Rama Latinoamericana de la IASPM-AL, 2022
En esta ponencia se propone un análisis de la producción vocal de tres cantautores chilenos actua... more En esta ponencia se propone un análisis de la producción vocal de tres cantautores chilenos actuales: Javier Barría, Manuel García y Chinoy. El análisis se concentra por un lado en los resultados sonoros grabados (haciendo un énfasis en elementos tecnológicos y performativos) y, por otro, en las decisiones y discursos en torno a ellas que los propios músicos han elaborado. Para esto se remite a fuentes orales, hemerográficas y sonoras. Con este análisis se busca responder a la interrogante acerca de la relación entre sonidos y representaciones sociales asociadas a la voz, tomando en cuenta el poderoso vínculo que la voz guarda entre quien la imite y su idea de sí mismo, así como entre la voz individual y la pertenencia a colectividades.
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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 circu-lation, 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 differ-ent 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
With the aim of reflecting about the state of music research in Valparaiso, this paper presents two sections, both of which complement each other: First, an annotated bibliography; and, second, a discussion on the state of the art. The dialogue between both sections allows to identify four key concepts concerning music in Valparaiso: cosmopolitanism, associativity, nightlife, and experimentation. In addition, some trends in recent research are discussed, such as the link between music research and heritage projects, as well as the production of testimonial narratives based on oral sources.
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 circu-lation, 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 differ-ent 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
With the aim of reflecting about the state of music research in Valparaiso, this paper presents two sections, both of which complement each other: First, an annotated bibliography; and, second, a discussion on the state of the art. The dialogue between both sections allows to identify four key concepts concerning music in Valparaiso: cosmopolitanism, associativity, nightlife, and experimentation. In addition, some trends in recent research are discussed, such as the link between music research and heritage projects, as well as the production of testimonial narratives based on oral sources.
Alberto Kurapel’s musical work still is a field largely overlooked by researchers, due both to the incipient state of scholarship on Chilean music in exile during the last dictatorship, as well as the more accurate categorization of this artist in the realm of acting and dramaturgy. The fact is that, aside from his significant contributions to drama, he worked actively as a singer-songwriter in Montreal, where he lived as an exile; becoming probably one of the most prolific exilic singers, as far as discography is concerned. Among his seven albums released during that period, this paper scrutinizes the first three: Chili: Amanecerá la siembra (1975), Chili: Guitarra adentro (1977) y A tajo abierto (1978). In particular, it seeks to examine the tripartite relationship between certain notions of vocality employed in some of his songs, the differences he had with Chilean exiles audiences, and the conception of artificiality in his “de exilio” performance. To this end, the paper draws on a number of Kurapel’s essays, and the concepts of frame analysis and personae from the performance theory of Philip Auslander, in addition to several interviews with Chilean exiles.
The main aim of this chapter is to examine the place held by the complex musical-poetical-choreographic form known as the cueca, within the Chilean New Song foundational project of building a “soundtrack” for revolutionary Latin America during the sixties, seventies and eighties. As such, the examination I undertake seeks, first, to respond to a broader question regarding the sound qualities of the Chilean New Song, using the particular case of the cueca as a case study. Secondly, I intend to propose an understanding of the relation between the selection/exclusion/predilection of certain musical traditions within the Chilean New Song repertoire and the political discourse held by its musicians.
This chapter has three main sections. The first section is devoted to defining what I understand by Chilean New Song, discussing both its political and sound dimensions, and by defining the term cueca, underlining some formal characteristics that have a stake in this study. The second section approaches the cueca within the Chilean New Song in two parts: first, I give an overview of the cueca’s place in the general repertoire of this genre; second I analyze four specific pieces of cueca, two by Aparcoa and two by Quilapayún. The analyses emphasize various aspects of form and vocal performance, observing their relation to traditional and innovative practices. The third and final section ponders the results of my analyses and provides some meanings associated with the cueca, especially related to exile, to reveal the negotiations of chileanness within the Latin-Americanist discourse."
puntuales. Por una parte, se explora la conexión entre fiesta y trabajo, interrogando la dimensión laboral y creativa de las actividades festivas que involucran a la cueca. Por otra parte, se indaga en las elaboraciones
artísticas realizadas a partir de la idea de fiesta popular, a través de tres producciones discográficas de la agrupación Los Trukeros. Cada una de ellas enfatiza un espacio festivo distinto (la calle, la fiesta y el circo) y
devuelve al público una versión actualizada de la cueca y su fiesta.
This musicological study examines the music created, performed and listened to by Chilean exiles in Montreal during the 1973-1989 dictatorship, focusing mainly on the history of music, as told from the perspective of the listeners. The main questions guiding the research process – which took on a varied methodological approach consisting primarily of interviews – were based on the types of music that participated in their experience of exile and the role it accomplished, as well as how this music contributed to the adaptation to their host country and helped to maintain a link with their country of origin. The first of the three historical dimensions that are examined in the study is the contribution of music in solidarity movements with the people of Chile, especially, via the formation of musical ensembles and the organizing of peñas and concerts. Secondly, the ways in which the role of music in the construction of a Chilean cultural community interacted with different discourses on politics and national identity, furthermore, with the individual experiences of exile, uprooting, and adaptation as the third dimension. The most present popular music genres, the Nueva Canción Chilena and Proyección Folclórica, as well as their significance in identity and politics, are integral parts of the text’s main issues. The cueca, considered the Chilean national dance, will also be given considerable attention throughout the discussion, due to its vast importance in the Chilean community of Montreal."
Utilizamos la noción de lugar como espacio dotado de sentido, construido a través de prácticas sociales, identificando la música como uno de los agentes importantes de dicha construcción. Asimismo, reconocemos que las músicas se materializan y encarnan espacios específicos, dando éstas cuenta de los lugares con los que se relacionan. Comprendemos, por ende, que existe una relación dialéctica entre la construcción de lugar y la construcción de la práctica musical en el espacio significado.
Nuestras cuestiones fundamentales procuran atisbar ¿qué sonoridades específicas lo constituían como barrio bullicioso? ¿en torno a qué músicas se desplegaban las prácticas y experiencias de sociabilidad? y por último, ¿cómo son ellas rememoradas? La ponencia que proponemos pretende avanzar resultados preliminares sobre la base de la examinación de una selección de fuentes escritas.
Palabras clave: Discografía, exilio, Chile, transfonografía, versión.