<p>This article is the first to present the results of research into the Spanish presence a... more <p>This article is the first to present the results of research into the Spanish presence at the Teatro Solís de Montevideo (Uruguay) during the period 1856-1930, from its foundation until the centenary of the country's constitution. The principal documentary sources are the Collection of Programs and Collection of Photographs pertaining to the Theatres's Archive, together with the press of the period.The article focuses on Spanish music theatre; reviews performances and the reception of the most important Spanish companies, from the pioneering Matilde Duclós to those run by López Silva, Carreras, Romo and Viñas.The 1910s have been chosen for a more detailed analysis of the presence of zarzuela and its influence on the Creole <em>género chico</em>. Information about the presence of famous female performers of Spanish popular song in Uruguay, such as "La Goya" and Raquel Meller, is also provided, as well as the activities of the communities of Spanish immigrants on the stage of the Teatro Mayor de Uruguay.</p>
Danzas Rituales En Los Paises Iberoamericanos Muestras Del Patrimonio Compartido Entre La Tradicion Y La Historia Estudios E Informes 2011 Isbn 978 84 15321 46 0 Pags 31 58, 2011
A Tres Bandas Mestizaje Sincretismo E Hibridacion En El Espacio Sonoro Iberoamericano Museo De Antioquia 2010 Isbn 978 84 460 3225 0 Pags 79 90, 2010
... En el área rioplatense se canta actualmente por milonga, con acompañamiento de guitarra; tamb... more ... En el área rioplatense se canta actualmente por milonga, con acompañamiento de guitarra; también fue muy popular la cifra. El oficio de payador es predominantemente masculino, si bien se dispone de datos sobre mujeres payadoras desde el siglo XIX. ...
Murga is a carnival ensemble of Hispanic origin, a popular theater genre
characterized historical... more Murga is a carnival ensemble of Hispanic origin, a popular theater genre characterized historically by male polyphony that started developing during the 19th century in Uruguay towards a deepening of the theatrical aspects. The polyphonic choral singing is characteristic of these groups, which syncretize aspects of the chirigotas and murgas of the carnivals in Cadiz, Extremadura, and Castilla with elements of Venetian Carnival and Afro-Uruguayan music. Murga is characterized by the traditional use of contrafactum from popular songs. The main function of these carnivalesque groups is satire and criticism of current events, particularly national events. The texts also have a self-referential aspect, marking that they belong to the people. Within the dramatic development the choir, in its dialogue with the soloists, represents an idealized people
<p>This article is the first to present the results of research into the Spanish presence a... more <p>This article is the first to present the results of research into the Spanish presence at the Teatro Solís de Montevideo (Uruguay) during the period 1856-1930, from its foundation until the centenary of the country's constitution. The principal documentary sources are the Collection of Programs and Collection of Photographs pertaining to the Theatres's Archive, together with the press of the period.The article focuses on Spanish music theatre; reviews performances and the reception of the most important Spanish companies, from the pioneering Matilde Duclós to those run by López Silva, Carreras, Romo and Viñas.The 1910s have been chosen for a more detailed analysis of the presence of zarzuela and its influence on the Creole <em>género chico</em>. Information about the presence of famous female performers of Spanish popular song in Uruguay, such as "La Goya" and Raquel Meller, is also provided, as well as the activities of the communities of Spanish immigrants on the stage of the Teatro Mayor de Uruguay.</p>
Danzas Rituales En Los Paises Iberoamericanos Muestras Del Patrimonio Compartido Entre La Tradicion Y La Historia Estudios E Informes 2011 Isbn 978 84 15321 46 0 Pags 31 58, 2011
A Tres Bandas Mestizaje Sincretismo E Hibridacion En El Espacio Sonoro Iberoamericano Museo De Antioquia 2010 Isbn 978 84 460 3225 0 Pags 79 90, 2010
... En el área rioplatense se canta actualmente por milonga, con acompañamiento de guitarra; tamb... more ... En el área rioplatense se canta actualmente por milonga, con acompañamiento de guitarra; también fue muy popular la cifra. El oficio de payador es predominantemente masculino, si bien se dispone de datos sobre mujeres payadoras desde el siglo XIX. ...
Murga is a carnival ensemble of Hispanic origin, a popular theater genre
characterized historical... more Murga is a carnival ensemble of Hispanic origin, a popular theater genre characterized historically by male polyphony that started developing during the 19th century in Uruguay towards a deepening of the theatrical aspects. The polyphonic choral singing is characteristic of these groups, which syncretize aspects of the chirigotas and murgas of the carnivals in Cadiz, Extremadura, and Castilla with elements of Venetian Carnival and Afro-Uruguayan music. Murga is characterized by the traditional use of contrafactum from popular songs. The main function of these carnivalesque groups is satire and criticism of current events, particularly national events. The texts also have a self-referential aspect, marking that they belong to the people. Within the dramatic development the choir, in its dialogue with the soloists, represents an idealized people
Uploads
Papers
characterized historically by male polyphony that started developing during the 19th
century in Uruguay towards a deepening of the theatrical aspects. The polyphonic choral
singing is characteristic of these groups, which syncretize aspects of the chirigotas
and murgas of the carnivals in Cadiz, Extremadura, and Castilla with elements of
Venetian Carnival and Afro-Uruguayan music.
Murga is characterized by the traditional use of contrafactum from popular songs.
The main function of these carnivalesque groups is satire and criticism of current
events, particularly national events. The texts also have a self-referential aspect, marking
that they belong to the people. Within the dramatic development the choir, in its
dialogue with the soloists, represents an idealized people
characterized historically by male polyphony that started developing during the 19th
century in Uruguay towards a deepening of the theatrical aspects. The polyphonic choral
singing is characteristic of these groups, which syncretize aspects of the chirigotas
and murgas of the carnivals in Cadiz, Extremadura, and Castilla with elements of
Venetian Carnival and Afro-Uruguayan music.
Murga is characterized by the traditional use of contrafactum from popular songs.
The main function of these carnivalesque groups is satire and criticism of current
events, particularly national events. The texts also have a self-referential aspect, marking
that they belong to the people. Within the dramatic development the choir, in its
dialogue with the soloists, represents an idealized people