Reflexiones sobre música experimental e identidad latina en el contexto de creación sonora de Nueva York
-
1
Universidad Internacional de La Rioja
info
ISSN: 1136-5536
Ano de publicación: 2022
Volume: 35
Páxinas: 253-278
Tipo: Artigo
Outras publicacións en: Cuadernos de música iberoamericana
Obxectivos de Desenvolvemento Sustentable
Resumo
This study tracks and analyzes the creative work of various musicians and sound artists of Latin-American and Spanish origin who are currently developing their careers in New York City. From this perspective, it attempts to reflect on the possibility of conceiving and articulating a Latin identity in the field of experimental music. In an initial approach, the possible motivations that justify their adherence to the New York sound experimentation scene are examined, as well as the reasons for their scarce presence in the identity mechanisms that structure Hispanic communities in the United States. Faced with the classical conception of experimental music as an abstract, international and neutral manifestation, it is possible to question the ideological aspects that underlie its origin as an expression of American cultural reaffirmation, first, and as a colonial mechanism, second. This line of argument tries to reveal the deep contradictions that these artists assume when participating in this context. Finally, various forms of emancipation present in their respective artistic works are explored, such as the use of language, the incorporation of certain self-reflective visions about identities in Latin America and, especially, the adoption of more critical approaches regarding the use and consumption of technologies, which can be interpreted as a shared ideological position.
Referencias bibliográficas
- Aharonián, Coriún: Conversaciones sobre música, cultura e identidad, Montevideo, Ombú, 1992.
- Alonso-Minutti, Ana R.; Herrera, Eduardo; Madrid, Alejandro L. (eds.): Experimentalisms in Practice: Music Perspectives from Latin America, Nueva York, Oxford University Press, 2018.
- Alonso-Minutti, Ana R.: “Forging a Cosmopolitan Ideal: Mario Lavista’s Early Music”, Latin American Music Review, 35, 2, 2014, pp. 169-196 (https://doi.org/10.7560/LAMR35201)
- Apolo Valdivia, Pedro Rolando: “Música electrónica experimental y tecnología musical en el Perú (siglo XXI)”, tesis doctoral, Universidad Nacional Mayor de San Marcos, 2018.
- Attali, Jaques: Ruidos. Ensayo sobre la economía política de la música, José Martín Arancibia (trad.), Valencia, Ibérica de Ediciones y Publicaciones, 1977.
- Barzel, Tamar: “Subsidy, Advocacy, Theory. Experimental Music in the Academy, in New York City, and Beyond”, People Get Ready, Ajay Heble, Rob Wallace (eds.), Durham, Duke Uni-versity Press, 2013, pp. 153-165.
- Berríos-Miranda, Marisol: The Significance of Salsa Music to National and Pan-latino Identity, California, University of California Berkeley, 1999.
- Bourdieu, Pierre: La distinción. Criterio y bases sociales del gusto, Madrid, Taurus, 1961.
- Collins, Nicolas: Handmade Electronic Music: The Art of Hardware Hacking, Nueva York, Routledge Taylor & Francis Group, 2006.
- Durand Baquero, Patrick: “La música en la construcción de la identidad política”, Dialéctica Revista de Investigación, 26, 2020, pp. 116-124.
- Etkin, Mariano: “Los espacios de la música contemporánea en América Latina”, Revista del Instituto Superior de Música, 1, 1989, pp. 47-58.
- Flores, Juan: “‘Creolité’ en El Barrio: la diáspora como fuente y desafío”, Nueva Sociedad, 201, 2006, pp. 117-128. Gann, Kyle: “Breaking the Chain Letter: An Essay on Downtown Music”, 1998 (https://www.kylegann.com/downtown.html)