{"title":"Ureta, Alfonso. 2020. A lo Humano y lo Divino. CD. Pirque: Producción independiente.","authors":"María Antonieta Contreras Mundaca","doi":"10.7764/res.2021.48.14","DOIUrl":"https://doi.org/10.7764/res.2021.48.14","url":null,"abstract":"","PeriodicalId":41600,"journal":{"name":"Resonancias","volume":"30 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89964649","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Ginesi, Gianni. 2018. Seguir el discurso. La entrevista en profundidad en la investigación musical. SIBE-Sociedad de Etnomusicología, Instrumentos para la investigación musical, núm. 2, 100 pp. ISBN 978-84-09-00803-2.","authors":"Gabriel Macías Osorno","doi":"10.7764/res.2020.47.13","DOIUrl":"https://doi.org/10.7764/res.2020.47.13","url":null,"abstract":"","PeriodicalId":41600,"journal":{"name":"Resonancias","volume":"68 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76328680","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Una de las principales características es la ausencia casi total de nombres propios en los personajes creados por Rivera Letelier.2 En los relatos los conocemos principalmente por sus apodos, que derivan de la mencionada trayectoria de estos personajes. Esto es interesante para un proyecto como la escritura de una ópera, ya que, en principio, los personajes en las novelas de Rivera Letelier no tienen dobles lecturas y terminan siendo una agrupación de características que los distinguen. Estas características son valiosas para conformar un discurso sonoro, al facilitar la transformación de personajes literarios en materiales musicales.
{"title":"Personalidades sonoras en la creación de ópera. Sistematización de elementos musicales en la creación de personajes y su narrativa musical en El Cristo de Elqui","authors":"M. Farías","doi":"10.7764/res.2020.47.12","DOIUrl":"https://doi.org/10.7764/res.2020.47.12","url":null,"abstract":"Una de las principales características es la ausencia casi total de nombres propios en los personajes creados por Rivera Letelier.2 En los relatos los conocemos principalmente por sus apodos, que derivan de la mencionada trayectoria de estos personajes. Esto es interesante para un proyecto como la escritura de una ópera, ya que, en principio, los personajes en las novelas de Rivera Letelier no tienen dobles lecturas y terminan siendo una agrupación de características que los distinguen. Estas características son valiosas para conformar un discurso sonoro, al facilitar la transformación de personajes literarios en materiales musicales.","PeriodicalId":41600,"journal":{"name":"Resonancias","volume":"2 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90643593","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Garrido, Waldo, Dan Bendrups y Philip Hayward. 2018. Música de Chiloé: Folklore, Syncretism, and Cultural Development in a Chilean Aquapelago . Londres: Rowman and Littlefield.","authors":"Ignacio Soto-Silva","doi":"10.7764/res.2020.47.14","DOIUrl":"https://doi.org/10.7764/res.2020.47.14","url":null,"abstract":"","PeriodicalId":41600,"journal":{"name":"Resonancias","volume":"17 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81673627","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Val, Fernán del. 2017. Rockeros insurgentes, modernos complacientes: un análisis sociológico del rock en la Transición (1975-1985). Madrid: Fundación SGAE (623 páginas). ISBN: 978-84-8048-890-7","authors":"Eduardo Viñuela","doi":"10.7764/res.2020.47.16","DOIUrl":"https://doi.org/10.7764/res.2020.47.16","url":null,"abstract":"","PeriodicalId":41600,"journal":{"name":"Resonancias","volume":"63 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77241807","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Vela, Marta. 2019. Correspondencias entre música y palabra. Un estudio sinestésico sobre Harmonie du soir, Baudelaire/Debussy, y Le Gibet, Bertrand/Ravel. Vigo: Académica Editorial del Hispanismo. 148 pp.","authors":"Irene de Juan Bernabéu","doi":"10.7764/res.2020.47.17","DOIUrl":"https://doi.org/10.7764/res.2020.47.17","url":null,"abstract":"","PeriodicalId":41600,"journal":{"name":"Resonancias","volume":"4 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90425423","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In Colombia, the tumultuous second half of the twentieth century kicked off with a fierce conflict between the Liberal and Conservative parties known as La Violencia (The Violence, ca. 1948-1958). Following a brief period of military rule (1953-1957), a bipartisan system of shared governance, the National Front (1958-1974), brought about some respite to the sectarian bloodshed. However, the exclusionary two-party system precipitated new lines of conflict between the state and communist guerrillas. Along with the political turmoil, the nation was also undergoing an era of profound cultural change. This essay examines three countercultural-oppositional movements that captivated a wide swath of youth in Colombia’s biggest cities during the 1960s: the canción protesta (protest song) movement, the rock and roll subculture denominated as nueva ola (new wave), and nadaísmo, a rabblerousing avantgarde literary movement. I analyze the correspondences and discontinuities in the ways adherents of these movements conceived of the ideal means to carry out social, cultural, and political resistance. While there were fundamental tensions between the “discourses of resistance” linked to these three countercultural streams, I argue that their convergence in the late 1960s facilitated the emergence of a commercial form of canción protesta.
{"title":"Protest Song and Countercultural Discourses of Resistance in 1960s Colombia","authors":"Joshua Katz-Rosene","doi":"10.7764/res.2020.47.3","DOIUrl":"https://doi.org/10.7764/res.2020.47.3","url":null,"abstract":"In Colombia, the tumultuous second half of the twentieth century kicked off with a fierce conflict between the Liberal and Conservative parties known as La Violencia (The Violence, ca. 1948-1958). Following a brief period of military rule (1953-1957), a bipartisan system of shared governance, the National Front (1958-1974), brought about some respite to the sectarian bloodshed. However, the exclusionary two-party system precipitated new lines of conflict between the state and communist guerrillas. Along with the political turmoil, the nation was also undergoing an era of profound cultural change. This essay examines three countercultural-oppositional movements that captivated a wide swath of youth in Colombia’s biggest cities during the 1960s: the canción protesta (protest song) movement, the rock and roll subculture denominated as nueva ola (new wave), and nadaísmo, a rabblerousing avantgarde literary movement. I analyze the correspondences and discontinuities in the ways adherents of these movements conceived of the ideal means to carry out social, cultural, and political resistance. While there were fundamental tensions between the “discourses of resistance” linked to these three countercultural streams, I argue that their convergence in the late 1960s facilitated the emergence of a commercial form of canción protesta.","PeriodicalId":41600,"journal":{"name":"Resonancias","volume":"4 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83119445","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"“Etnomusicología histórica”: reconstruyendo la historia de la liturgia Falasha [1980]","authors":"Kay Kaufman Shelemay","doi":"10.7764/res.2020.47.11","DOIUrl":"https://doi.org/10.7764/res.2020.47.11","url":null,"abstract":"","PeriodicalId":41600,"journal":{"name":"Resonancias","volume":"15 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86860260","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Palomino, Pablo. 2020. The Invention of Latin American Music. A Transnational History. Nueva York: Oxford University Press.","authors":"J. Poveda","doi":"10.7764/res.2020.47.15","DOIUrl":"https://doi.org/10.7764/res.2020.47.15","url":null,"abstract":"","PeriodicalId":41600,"journal":{"name":"Resonancias","volume":"29 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75782668","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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