{"title":"“Vanguardia” y “retaguardia” musical en Cuba: relatos históricos y polémicas (1961-1971)","authors":"Yurima Blanco García, Ailer Pérez Gómez","doi":"10.34096/oidopensante.v8n2.8062","DOIUrl":null,"url":null,"abstract":"This work starts from a question: which has been the historiographical narrative of the Cuban musical avant-garde and its polemics? Its aim is to define the tensions that took place in musical creation at the beginning of the Cuban Revolution by examining the historiographic sources signed by its protagonists. The musical avant-garde in Cuba is located in the incipient context of the Revolution and was initially led by Juan Blanco (1919-2008) and Leo Brouwer (1939). This movement not only stood out for the technical, aesthetic and social innovation of its proposal, but it also became an artistic and ideological elite. At the same time, there was another discourse in the compositional and critical field, described as “musical rearguard”","PeriodicalId":40885,"journal":{"name":"Oido Pensante","volume":" ","pages":""},"PeriodicalIF":0.3000,"publicationDate":"2020-08-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Oido Pensante","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.34096/oidopensante.v8n2.8062","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
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Abstract
This work starts from a question: which has been the historiographical narrative of the Cuban musical avant-garde and its polemics? Its aim is to define the tensions that took place in musical creation at the beginning of the Cuban Revolution by examining the historiographic sources signed by its protagonists. The musical avant-garde in Cuba is located in the incipient context of the Revolution and was initially led by Juan Blanco (1919-2008) and Leo Brouwer (1939). This movement not only stood out for the technical, aesthetic and social innovation of its proposal, but it also became an artistic and ideological elite. At the same time, there was another discourse in the compositional and critical field, described as “musical rearguard”
期刊介绍：
The aim of El oído pensante is to promote the discussion of theoretical, methodological and epistemological dilemmas faced by different kinds of music research. Unpublished articles in Spanish, Portuguese and English dealing with ethnomusicology, anthropology, sociology of music, popular music studies, musicology, and cultural studies, among other disciplines, are received. Papers should be original and those which produce criticism of theoretical paradigms, methodology, transdisciplinarity, knowledge validation, research ideologies, representation resources, narrative strategies, ethic and esthetic research perspectives, relationships during the fieldwork experience, social and political research significance, the researcher’s perceptive and conceptual baggage, new technologies and their ways of spreading and sharing knowledge, etc., will be welcome. Since the intention of the journal is to promote critical thought aimed to dismantle usual concepts and to open new approaches, papers restricted to analyzing particular cases will not be accepted. However, it is expected that authors bring some cases into the text in order to support their main ideas. Articles and reviews are received.
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