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Cuerdas sonoros12/16/2023 The inventory is signifi cant not only for the variety, breadth and detail of its contents, but also because it allows this reconstruction of the pre-1600 repertory in use at the cathedral even though almost all the musical sources themselves have been lost, and even more so because very few such inventories from this early have been found in Hispano-American cathedrals. This document shows how Spanish and European music, both manuscript and printed, quickly reached Mexico and formed part of the music performed as part of the liturgy of one of the most important cathedrals in the New World. Thanks to a detailed inventory dated 1589 recently found in Mexico Cathedral, it is possible to reconstruct the polyphonic repertory performed there in the 16th century. Keywords: Robert Murrell Stevenson, “music(ethno)logy”, aesthetic and cultural critic. Stevenson is a limitaneus, "Look between worlds", and his legacy is a sort of "migration" has clashed with both intellectual view of the metropolis as the periphery, revealing sources between ideology and politic, that is filtered through musicological story. His research moved between musicology, ethnology, philosophy, aesthetics and cultural critic, for this reason, today is fundamental for the studies dedicated to Music as thought, specially in the Americas and the Iberian Peninsula. Abstract: This article will attempt to expose what has been identified as a “music (ethno) logical” thinking in the work of the American theologian, composer, musicologist and pianist Robert Murrell Stevenson, analyzing the critical reception that his work was in opinion of his contemporaries. Palabras clave: Robert Murrel Stevenson, “músico(etno)logia”, estética y crítica cultural. Stevenson, que se movió entre musicología, etnología, filosofía, estética y crítica cultural, representa hoy en día uno de los pilares fundamentales de los estudios dedicados a la Música como pensamiento, especialmente en las Américas y la Península Ibérica, mostrándose como limitaneus, “mirada entre mundos”, que, en una especie de “migración” intelectual, ha chocado tanto con la perspectiva de la metrópolis como con la de la periferia, poniendo en evidencia las “entrelíneas” estéticas, ideológicas y políticas, que se filtran a través del relato musicológico. Esumen: El presente artículo tratará de exponer lo que se ha identificado como un pensamiento “músico(etno)lógico” en la obra del teólogo, compositor, musicólogo y pianista estadounidense Robert Murrell Stevenson, analizando la recepción crítica que tuvo su obra en la opinión de sus contemporaneos.
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