El oído pensante

Los objetos se desplazan a mayor velocidad que la mirada

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Objects Move Faster Than the Eyes That Observe Them

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“Não raro sou voto vencido”. O percurso de Samuel Araujo, o legado do Grupo Musicultura e os desafios da etnomusicologia

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From Formative Research to Critical and Reflective Creation: Contributions to a Reconfiguration of Creative Research in Graduate Programs in Music

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In recent years, the topic of creative research (or artistic research, as it is often called in Europe) has gained special relevance in university settings. There are numerous books and articles published that have sought to define and theorize it. However, instead of clarifying or reaching a consensus on its meaning and scope, it is perceived that over the years it continues to be a vague and diffuse term, with multiple uses depending on the interests of those who enunciate it. In this article, based on an extensive bibliographic review produced in recent years on epistemological and methodological aspects of creative research, we seek to clarify confusions and propose alternatives to reconfigure the field. The discussion is based on the deductive and inductive methods to reach discussions and propositions, taking, as an empirical basis thesis, a master's program in Colombia, whose curricular construction was designed on the paradigm of creative research. As a result, the importance of defining critical and reflective creation as a third option between creation and creation research is argued.

From the Archive to the Invention of the Nationalist Myth in La música en Cuba: New Perspectives on Criollismo in 19th-Century Cuba

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It is indubitable that the influence of Alejo Carpentier's narrative has been significant in the Latin American context, as well as his role in the legitimization of a nationalist cliché in nineteenth century Cuba. Nevertheless, numerous factors challenge the Carpenterian thesis. For instance, the complexity of Cuban society in the mid-century period, which made the formation of a unified nation unlikely. This was further compounded by the legacy of Spanish colonialism, the continued practice of slavery until 1886, and the process of creolisation and integration of the black population. The principal objective of this paper is to deconstruct the discourse on the canon of musical nationalism in colonial Cuba, with reference to Carpentier's nationalist/Americanist ideological agenda in La música en Cuba (1988). At the same time, the relevance of the term criollo or criollista is proposed for the study of musical activity related to certain relational and membership circuits located in nineteenth-century Cuba. In this context, the “performance complex” approach proposed by Alejandro Madrid (2012) for the post-national study of musical nationalism has proven to be a valuable contribution.

Spatiality in the Musical Experience. Undisciplinary Reflections and a Proposal from the Territory

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Concepts related to spatiality have been used within ethnomusicology in polysemic manners, which have facilitated complex ways to understand how the social subject experiences the practice of music. In this text, we propose a review of the spatiality in music experience based on the notions of space, place and territory. Our conclusions aim to relate, after two decades, Timothy Rice's proposal on musical experience with other authors beyond musicology, who have addressed the relationship between experience, time and space. We have proposed to rethink the axes on which musical experience is articulated, highlighting the role of territory as a concept that encompasses ethnicities and historical uses of space in which music can unite part of that experience.

A New Music as a Territory of the Emancipation of Technological Resources

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Considering a 20th century that saw the birth of instruments, musical resources, and techniques that responded to the demands of the music of its own time, in this article, we examine whether the gradual consolidation of electronic resources in the compositional field has some kind of relationship with the development of the Cultural Industry, which, according to the Frankfurt School, is driven through the expansion of communication technologies. Based on Heidegger’s analysis of the nature of these resources, we pay special attention to the way in which their entry into the creative process entails the gradual appearance of a distinct thought from the musical one, a thought that arises from the technological stage and that can be traced back to the instrumental reason defined by Marcuse, all within a process where new technologies seem to guide their development towards their own autonomy.

Preservation and Foresight: Proposal of a Model for Adaptability and Reinterpretation of Electroacoustic Works with Real-time Signal Processing

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Electroacoustic music with real-time signal processing, also known as live electronics, faces significant challenges in terms of its sustainability, meaning its ability to endure and be reinterpreted in the future. These challenges are linked to the technological nature of the works. Many rely on specific technologies that could become obsolete, lack information for migration to new technologies, and do not have adequate notation systems to ensure their reinterpretation. This could result in the permanent loss of some musical compositions. The article aims to address these issues and suggest creating a systematic model of the elements of such a work to contribute to preserving electroacoustic music with real-time signal processing.

Immanence and Metaphysics in The Art of Fugue by J. S. Bach

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The Art of the Fugue contains defined elements which make it possible to establish the hypothesis that, within this work of Johann Sebastian Bach, there is an original metaphysical background. Starting from the systematic structure of the last great composition by the German musician, and from the circular accent that it contains, the metaphysical originality analyzed in this article is the consideration of an immanentist conception of the divine essence. From such consideration, the possibilities contained in the formal structure of the work will be analyzed to expose how the totality of what is real would be contained in the divine essence to unfold in the other of itself, in the same reality.

M. Paz López-Peláez Casellas (coord.). Músicas encontradas. Feminismo, género y queeridad. Jaén. Editorial Universidad de Jaén, 2021.195 pp.

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Book review: M. Paz López-Peláez Casellas (coord.) Músicas encontradas. Feminismo, género y queeridad. Jaén. Editorial Universidad de Jaén, 2021.195 pp. ISBN: 978-84-9159-450-5.

Música y rodeo en el Valle de Chancay. Eimer Sucuple, Sergio Arellano y Margoth Manuelo. (2020). Lima: Escuela Nacional Superior de Folklore José María Arguedas.

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López Moya, M. de la C. (2017). Caleidoscopio sonoro, músicas urbanas de Chiapas. Chiapas: Cesmeca-Juan Pablo Editores, Tuxtla Gutiérrez.

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