Musical “Avant-garde” and “rearguard” in Cuba: historical narratives and polemics (1961-1971)
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 pr...
Guardado en:
| Autores principales: | , |
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| Formato: | Artículo revista |
| Lenguaje: | Español |
| Publicado: |
Facultad de Filosofía y Letras, Universidad de Buenos Aires
2020
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| Materias: | |
| Acceso en línea: | http://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/8062 |
| Aporte de: |
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I28-R250-article-8062 |
|---|---|
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ojs |
| institution |
Universidad de Buenos Aires |
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I-28 |
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R-250 |
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El oído pensante |
| language |
Español |
| format |
Artículo revista |
| topic |
Musical avant-garde; rearguard; composers; Cuban Revolution; criticism vanguardia musical; retaguardia; compositores; Revolución Cubana; crítica música de vanguarda; retaguarda; compositores; Revolução Cubana; crítica |
| spellingShingle |
Musical avant-garde; rearguard; composers; Cuban Revolution; criticism vanguardia musical; retaguardia; compositores; Revolución Cubana; crítica música de vanguarda; retaguarda; compositores; Revolução Cubana; crítica Blanco García, Yurima Pérez Gómez, Ailer Musical “Avant-garde” and “rearguard” in Cuba: historical narratives and polemics (1961-1971) |
| topic_facet |
Musical avant-garde; rearguard; composers; Cuban Revolution; criticism vanguardia musical; retaguardia; compositores; Revolución Cubana; crítica música de vanguarda; retaguarda; compositores; Revolução Cubana; crítica |
| author |
Blanco García, Yurima Pérez Gómez, Ailer |
| author_facet |
Blanco García, Yurima Pérez Gómez, Ailer |
| author_sort |
Blanco García, Yurima |
| title |
Musical “Avant-garde” and “rearguard” in Cuba: historical narratives and polemics (1961-1971) |
| title_short |
Musical “Avant-garde” and “rearguard” in Cuba: historical narratives and polemics (1961-1971) |
| title_full |
Musical “Avant-garde” and “rearguard” in Cuba: historical narratives and polemics (1961-1971) |
| title_fullStr |
Musical “Avant-garde” and “rearguard” in Cuba: historical narratives and polemics (1961-1971) |
| title_full_unstemmed |
Musical “Avant-garde” and “rearguard” in Cuba: historical narratives and polemics (1961-1971) |
| title_sort |
musical “avant-garde” and “rearguard” in cuba: historical narratives and polemics (1961-1971) |
| description |
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” (Martín, 1971) and, therefore, postponed in the recognition and visibility of its creators. The analysis of publications where the composers debated between 1961 and 1971, on a recurring basis, La Gaceta de Cuba and the bulletin Mensajes (UNEAC) are taken as documentary reference. It reflects on four central issues identified in this controversy: the definition of “new music”, the confrontation between “avant-garde” and “musical rearguard”, the political commitment of the composers and the appreciation by the public. |
| publisher |
Facultad de Filosofía y Letras, Universidad de Buenos Aires |
| publishDate |
2020 |
| url |
http://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/8062 |
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2023-06-27T21:04:35Z |
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2023-06-27T21:04:35Z |
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I28-R250-article-80622020-10-12T20:53:43Z Musical “Avant-garde” and “rearguard” in Cuba: historical narratives and polemics (1961-1971) “Vanguardia” y “retaguardia” musical en Cuba: relatos históricos y polémicas (1961-1971) “Vanguarda” e “retaguarda” musical em Cuba: histórias e controvérsias históricas (1961-1971) Blanco García, Yurima Pérez Gómez, Ailer Musical avant-garde; rearguard; composers; Cuban Revolution; criticism vanguardia musical; retaguardia; compositores; Revolución Cubana; crítica música de vanguarda; retaguarda; compositores; Revolução Cubana; crítica 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” (Martín, 1971) and, therefore, postponed in the recognition and visibility of its creators. The analysis of publications where the composers debated between 1961 and 1971, on a recurring basis, La Gaceta de Cuba and the bulletin Mensajes (UNEAC) are taken as documentary reference. It reflects on four central issues identified in this controversy: the definition of “new music”, the confrontation between “avant-garde” and “musical rearguard”, the political commitment of the composers and the appreciation by the public. Este trabajo parte de un interrogante ¿cuál ha sido el relato historiográfico sobre la vanguardia musical cubana y sus polémicas? El objetivo es definir las tensiones que tuvieron lugar en torno a la creación musical en los inicios de la Revolución Cubana a través del examen de las fuentes historiográficas firmadas por sus protagonistas. La vanguardia musical en Cuba se emplaza en el contexto incipiente de la Revolución y estuvo liderada inicialmente por Juan Blanco (1919-2008) y Leo Brouwer (1939). Este movimiento no sólo destacó por la innovación técnica, estética y social de su propuesta, sino que devino en una élite artística e ideológica. En paralelo, existió otro discurso en el terreno compositivo y de la crítica, calificado como “retaguardia musical” (Martín, 1971) y, por ello, postergado en el reconocimiento y visibilidad de sus creadores. Se toma como referencia documental el análisis de publicaciones donde debatieron los compositores entre 1961 y 1971, de manera recurrente, La Gaceta de Cuba y el boletín Mensajes (UNEAC). Se reflexiona sobre cuatro ejes centrales identificados en esta polémica: la definición de “música nueva”, la confrontación entre “vanguardia” vs “retaguardia musical”, el compromiso político de los compositores y la valorización del público. Este trabalho parte de uma pergunta: qual tem sido o relato historiográfico da vanguarda musical cubana e suas controvérsias? O objetivo é definir as tensões que ocorreram na criação musical no início da Revolução cubana, examinando as fontes historiográficas assinadas por seus protagonistas. A vanguarda musical em Cuba está localizada no contexto incipiente da Revolução e foi inicialmente liderada por Juan Blanco (1919-2008) e Leo Brouwer (1939). Esse movimento destacou-se não apenas pela inovação técnica, estética e social de sua proposta, mas também transformou-se em uma elite artística e ideológica. Ao mesmo tempo, houve outro discurso no terreno composicional e crítico, qualificado como “retaguarda musical” (Martín, 1971) e, portanto, adiado no reconhecimento e na visibilidade de seus criadores. A referência documental é baseada na análise de publicações onde compositores debateram de forma decorrente entre 1961 e 1971, como La Gaceta de Cuba e o boletim Mensages (UNEAC). O artigo propõe uma reflexão sobre quatro eixos centrais identificados nesta controvérsia: a definição de “nova música”, o confronto entre “vanguarda” e “retaguarda musical”, o compromisso político dos compositores e a valorização do público. Facultad de Filosofía y Letras, Universidad de Buenos Aires 2020-08-06 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf text/html http://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/8062 10.34096/oidopensante.v8n2.8062 El oído pensante; Vol. 8 Núm. 2 (2020): Agosto 2020 - Enero 2021 El oído pensante; Vol 8 No 2 (2020): Agosto 2020 - Enero 2021 El oído pensante; v. 8 n. 2 (2020): Agosto 2020 - Enero 2021 2250-7116 spa http://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/8062/7371 http://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/8062/7508 Derechos de autor 2020 El oído pensante |