Cuadernos de Música Iberoamericana

The Origins of Music Lexicography in Spanish. Metalexicographic Observations

2025-10-24T11:07:39+00:00

Lexicographical works have played an important role in the dissemination of scholarly knowledge, reflecting the creation and development of different disciplines that make up society. As a cultural expression, music has been the subject of these types of works and musical terms have formed part of this process of systemisation and dissemination. During the 18th century, the boom in music making in Spain led to the emergence of translations and vocabularies written in Spanish, which were included in works of different kinds. In the 19th century, this led to the compilation of the first dictionaries exclusively focusing on musical terms, based on those produced in Europe and, specifically, in France. This article aims to identify the origins of the production and textual dialogue of the first independent and specialised music dictionaries published in Spanish between 1852 and 1899, employing a methodology based on linguistic historiography.

Ignacio Rodulfo Hazen. 2023. El aire español. Usos musicales de la nobleza española en Italia (1580-1640). Madrid: Centro de Estudios Europa Hispánica, 320 páginas, ISBN 978-84-18760-10-5

2025-07-09T07:04:30+00:00

María José de la Torre Molina, ed. 2022. Música y ceremonial en Andalucía (siglos XVI-XIX). Valencia: Tirant Lo Blanch, 487 páginas, ISBN 978-84-19071-95-8

2025-07-14T11:55:28+00:00

Alexandre Robert. 2023. Devenir compositeur. Enquête sociomusicologique sur Déodat de Séverac (1872-1921). Lyon: Symétrie, 324 páginas, ISBN 978-2-36485-218-1

2025-10-24T11:07:27+00:00

Javier Marín-López, Montserrat Capelán y Paulo Castagna, eds. 2023. Músicas iberoamericanas interconectadas. Caminos, circuitos y redes. Madrid / Fráncfort: Iberoamericana / Vervuert, 648 páginas, ISBN 978-84-9192-409-8

2025-10-24T11:07:29+00:00

Gavin Steingo. 2024. Interspecies Communication: Sound and Music Beyond Humanity. Chicago / Londres: The Chicago University Press, 256 páginas, ISBN 978-0-226-83136-7*

2025-10-24T11:07:25+00:00

José Valero Peris and his Método fácil de piano (1845): A Valencian Contribution to Nineteenth- Century Spanish Piano Pedagogy

2025-10-24T11:07:35+00:00

The Valencian José Valero Peris was a well-known figure in the composition of Spanish stage music during the mid-nineteenth century. Although he did not gain the notoriety of other major names of the period, he managed to forge a path for himself as a composer and performer. He was an eminent member of the music section of the Liceo Valenciano, where he appeared in various soirées as a pianist and conductor. He also made an important contribution to music pedagogy in the nineteenth century because of his commitment to democratising access to basic music education. A renowned teacher in several Valencian schools, his Método fácil de piano (1845) provided a simplified structure that facilitated piano teaching for women and amateur musicians, enabling it to remain in print until well into the twentieth century. This innovative approach, together with his collaboration on the Nuevo método completo de solfeo with Antonio Romero, helped to meet the growing demand for accessible methods for beginners.

A Savage in Milan? A Hero in Río? Masculinities, Race, and Nation: The Representation of Carlos Gomes in Italian and Brazilian Illustrated Magazines (1870-1896)

2025-10-24T11:07:40+00:00

This article examines the portrayal of the opera composer Antônio Carlos Gomes in illustrated magazines from Milan and Rio de Janeiro spanning the years 1870 to 1896. Through an analysis of selected drawings, caricatures, and photographs, it investigates the intersections between Gomes’ visual representation and the generation of discourses related to masculinity, race, and nationality. On the one hand, the study dissects the Italian press’s depiction of Gomes as a “domesticated savage” and, on the other, reflects on the mythification, heroisation and whitewashing of his persona in Brazil. Consequently, by comparing two visions, this text calls for a reconsideration of how the artist’s image was constructed and perpetuated, thereby destabilising hegemonic narratives surrounding his legacy, while also challenging the intersection of the categories of gender, race, and nation.

Male and Female Rappers on the Streets and on Public Transport: New Trends in Street Music in the City of Concepción, Chile

2025-10-24T11:07:41+00:00

This article looks at the transformation that street music has undergone in my native city, Concepción (Chile). I analyse some interesting changes in music making and the way in which rappers create these performances. Methodologically, I carried out ethnographic research between 2021 and 2023 that included accompanying and interviewing a group of six male and two female rappers, aged between 20 and 27, who belonged to the middle/working class. To a certain extent, this research employs an autoethnographic approach, as I use my personal and emotional experience to explore and analyse a phenomenon, arguing that the performance of street music comprehensively reflects the way in which the inhabitants of Concepción live and experience the city.

Editorial. Musicología y compromiso medioambiental

2025-09-08T09:13:47+00:00

Presentation. Eco-sound Militancies: Ibero-America in the Face of the Current Environmental Crisis

2025-10-24T11:07:31+00:00

Introducción

"El mar escupía un lamento". Musical strategies in the face of ecological disasters in contemporary Spain: the cases of the Prestige and the Mar Menor

2025-10-24T11:07:33+00:00

This article analyses the musical responses to two marine environmental catastrophes in 21st century Spain: the shipwreck of the oil tanker Prestige near the Galician coast and the Mar Menor crisis in Murcia. Thus, looking at different collective actions, such as songs, concerts, compilations or advertising campaigns, and the way in which they use pre-existing or newly created music, we seek to understand how music is instrumentalized in the struggle for the hegemony of the climate imaginaries defined by Levy and Spicer. To do this, a genealogy of the relationships between music and environmental protest in Spain is drawn, with the aim of understanding what characterizes it and what type of changes have been over time.

Ubimus, Post-anthropocentrism and the Ubiquitous Immateriality of Musical Stuff

2025-10-24T11:07:34+00:00

Research into ubiquitous music (ubimus) interacts with a changing ecosystem of technological resources, based on the many social and cognitive demands of music composition (Keller et al. 2014; Lazzarini et al. 2020). Technological design in ubimus requires strategies involving more aesthetically flexible interaction than those that currently exist, to foster sustainable creative thinking (Keller et al. 2021). Thus, these propositions are aligned with decolonial and post-anthropocentric approaches. Decoloniality may provide a key to unlocking some of the analytical contradictions of current artistic research. To illustrate these arguments, a case study is documented: The Ubiquitous Immateriality of Musical Stuff.

Musical mutations in deep time

2025-10-24T11:07:37+00:00

This article studies the question of counter-canon and ecology by describing the research-based curatorial work of Ultranesia, focusing on some artists participating in the Archipelago Festival, which took place in Madrid between 2017 and 2023. The text follows an interdisciplinary approach that could be framed in the field of sound studies. It discusses several recent publications dedicated to examining Western musical hegemony from media studies, ecology and decolonial thinking. The methodology is qualitative, guided by a deep-time materialist approach. The notion of Experimentalism is considered a kind of Western canon to which alternatives are explored. These may be found on one hand in musicians who embrace tradition in their practice, but on the other hand, in contemporary artists whose work has been wrongly labelled as world music and folklore for not fitting within the Western definition of traditional music.

Sound Arts and Eco-Artivism: From the Political Dimension of Sound to the Possibilities of Situated Listening

2025-10-24T11:07:32+00:00

This study aims to offer a space for debate and reflection on the political dimension of music and the possibilities of “eco-artivism” in the field of contemporary sound creation. In order to question the vision of the artistic work as a mere object of pleasure and a decontextualized phenomenon, we reflect on sound and listening as sources of production of critical and reflexive knowledge. From this perspective, the space of sound arts is revealed as a fertile field of experimentation capable of projecting itself towards political, cultural, social and environmental claims. The foundations that lead from the classical soundscape to the new framework of biomusic will be reviewed as a propositional space that attempts to pay attention in a situated way to the dialogue between human and non-human sounds, questioning both the dichotomy between culture and nature, as well as the ethical pretensions of preservation that characterize the positions of the traditional soundscape. Finally, in order to illustrate some of these reflections, two specific works are reviewed: La selva (1998) by Francisco López and Amazonia (2019) by Félix Blume. Their divergent aesthetic and ideological positions materialize in two opposing types of listening – one deep and decontextualized, and the other situated and shared – which allows for a debate about their ecological implications.

Listening to the Earth (Under the Asphalt)

2025-10-24T11:07:36+00:00

The ecological crisis highlights the need to rethink the question of habitation. This requires reconceiving the links between the Earth and its inhabitants. There are two main approaches that converge in this reinvention. The first proposes a poetic habitation (Heidegger). The second calls for changing the paradigm of domination for that of listening (Cage). This entails positing the Earth as a totality and acknowledging the links between the crises that affect us: environmental, social and mental (Guattari). From here, the notion of aisthēsis is revived to suggest a poï-ethical listening that is exemplified here according to the two approaches mentioned above. De agua, viento y verdor, the practices of “walking the word” and the project Voces que caminan, are examples of the former that link words to their sacred character. Representative of the latter, Cuerpospermeables by Eulalia de Valdenebro, is based on a critique of colonial botany, contrasting it with a decolonial posthumanism that can take the form of a body that becomes a wind instrument.

Pensar las vidas de los sonidos. Una entrevista a Ana María Ochoa por Violeta Nigro Giunta e Igor Contreras Zubillaga

2025-10-24T11:07:30+00:00

Pensar las vidas de los sonidos. Una entrevista a Ana María Ochoa por Violeta Nigro Giunta e Igor Contreras Zubillaga