Cuadernos de Música Iberoamericana

New Early Sones. The Llibre de tons de Ioseph Vilamur, an Unknown Source of Seventeenth-century Iberian Guitar Music

Francisco Alfonso Valdivia Sevilla — 2023-12-19

The Llibre de tons de Ioseph Vilamur is a miscellaneous manuscript of Catalan origin containing texts to be sung with strummed accompaniment and music in a punteado (plucked) style for five-stringed guitar. While the tonos are in line with the standard canon of Catalan figures, the vast repertory of plucked music it contains is written inconsistently and reveals a very amateur use, possibly directed by a private teacher. Apart from the dance sones often found in Iberian sources during the second half of the seventeenth century, such as chaconnes, folias, marizápalos and the gran duque, it contains a significant number of unusual genres that are also present in other Catalan sources from the same period, such as the Universitat de Barcelona manuscript and the Escornalbou and Senorami harp manuscripts.

From La rose de Péronne to El juramento: Analysing Gaztambide’s Score in Light of Nineteenth-Century Composition Treatises.

David Lawton — 2023-12-19

Recent scholarship has revealed the importance of French opéra-comique in the development of the Spanish zarzuela grande, not only as libretto sources, but also with respect to certain musical characteristics. However, the influence of Italian musical forms, though acknowledged by current scholars, has not been investigated in comparable detail. This essay first studies dramaturgical aspects of Olona’s adaptation of the French opéra-comique La rose de Péronne (1840) into the zarzuela grande El juramento (1858) in the context of the theatrical conventions prevailing in France and Spain at the time of their creation. Then it develops a methodology for the analysis of the music of the zarzuela grande repertory using concepts developed by Italian opera scholars, as well as considering important 19th century treatises on musical composition by Hilarión Eslava (1860 and 1861), Antoine Reicha (1814) and Bonifazio Asioli (1836). A close analysis of an impressive tri-partite scene complex, N.o 3 in Act I of Joaquín Gaztambide’s El juramento tests this methodology, identifying Italian and French characteristics as well as distinctly Spanish features.

National and Popular Dilemmas in the Nueva Canción Peruana Movement: Examples Related to the Taller de la Canción Popular (ca. 1974-1980s)

Ignacio Alejandro Ramos Rodillo — 2023-12-19

This article partially recreates the evolution of the Nueva Canción Peruana (New Peruvian Song) movement by analysing several examples related to the Taller de la Canción Popular (Popular Song Workshop) at the Escuela Nacional de Música (National Music School) (1974-1979). It describes and analyses the conditions, contents and results of the adaptation of the model of the Nueva Canción Chilena, both in relation to the self-criticism within the Peruvian movement and its critics. The situation defined a series of problems of a national and popular nature, involving the cultural policy of the Gobierno Revolucionario de las Fuerzas Armadas (Revolutionary Government of the Armed Forces of Peru), the aesthetic horizons of the workshop participants, the organisation of folklore in the city of Lima, the rise of the left and the aesthetic, social and political functions of socially committed song.

Recording in the Ibero-American Context: Discourses, Practices and Repertories. Presentation

Sonia Gonzalo Delgado — 2023-12-19

La grabación en el contexto iberoamericano: discursos, prácticas y repertorios

Early Portuguese recordings for The Gramophone Company (1900—1908) and the establishment of a phonographic market in Portugal

Joao Silva — 2023-12-19

My article strives to study phonography in Portugal between the 1900 recording sessions for The Gramophone Company and the company’s first significant Portuguese catalogue, printed in December 1908. I aim to trace the transformations undertaken in the discs and repertoires along with their segmentation during the first decade of Portuguese phonography, with the establishment of a phonographic market in the country.

From the Pinnacle to Disillusionment. The Antecedents, Consolidation Process and Consequences of a Recording Project for Chilean Music (1958-1960)

Salvador Campos Zaldiernas — 2023-12-19

The announcement of the agreement whereby RCA Víctor would undertake the recording of a collection of albums of music by Chilean composers represented the culmination of a model for the promotion of national music production launched in 1940 by the Instituto de Extensión Musical at the Universidad de Chile. However, the expectations this project generated were suddenly interrupted by the conflict that arose within the Sinfónica and the university on which it depended. This situation would jeopardise the very continuity of the orchestra, which had been the driving force behind the country’s musical development and its standard-bearer until then, generating an unprecedented institutional crisis. This article aims to address the significance of this recording project for the Instituto de Extensión Musical and its context, as well as analyse the consequences of its cancelation.

Miguel Llobet’s 1929 Recordings in Barcelona and Buenos Aires. An Example of the Transnational Operations of the Lindström Recording Company

Jorge Ruiz Preciado — 2023-12-19

In March 1929 Miguel Llobet signed a recording contract with the multinational Lindström. He would record solo and duo works with María Luisa Anido in Barcelona and Buenos Aires, and his records would be released in Spain, Argentina, Chile, Brazil, German and the United States on the Parlophon, Odeon and Decca labels. The preservation of the contract and payments made for record sales enable us to understand the relationship between the performer and the recording company and the execution of the contract in terms of the choice of repertoire, recording, release and sales. These documents reveal how the Spanish and Argentine headquarters of the record company were able to work together throughout the whole process of producing the records. The article will also discuss the criteria Miguel Llobet used to decide on the repertoire to be recorded, in accordance with his role in rejuvenating the guitar repertory, without forgetting commercial interests. Finally, it shows how recordings were an important element in Miguel Llobet’s career, enhancing his reputation as a famous performer.

Multimodal Discourse and Music Production. An Examination of the Transnational Cumbia Repertoire Recorded by Pastor López

Luis Ramón Pérez Valero — 2023-12-19

From the works of Frith, Zargosky-Thomas, Moylan, Juan de Dios Cuartas and Di Cione, a set of texts has been generated that bring us closer to recording as a field of study; however, there is still a need to establish theoretical lines that are directly connected to the episteme of the phonographic object and that are not limited exclusively to the social, anthropological or cultural aspects of the recording. In the present work a dissertation is made on the theory of multimodal discourse developed by Jewitt, Kress and Leeuwen and that in Spanish has had an approximation by Sans. A summary of the theory, its categories and most relevant bibliography is made, and the sound recording is linked to the studies. Finally, a case study focused on the figure of the cumbia singer Pastor López is presented, which allowed the different discursive modes to be revealed in the recordings.

Singing the Unspoken: An Analysis of the Formal and Semantic Aspects of Milton Nascimento’s Song “Hoje É Dia de El Rey”

Lucas Mateus Silva — 2023-12-19

In this article, we seek to investigate the structural and semantic aspects that permeate the song Hoje É Dia de El Rey, by Milton Nascimento, released for the first time on the album Milagre dos Peixes, in 1973. In addition to the interest of the research, understanding the resources used by the artist in the face of the unforeseen challenges of censorship (imposed on the song due to its political content) and how an apparently external fact to the creative process would end up influencing the results of the work at that time. As a result of this research, the objective was not only a description of its semantic and structural processes, including its recording process, but also a view of these aspects that resulted in practical knowledge that could be updated in the performance of the song.

The Recording As a Creation: The Legal Deposit of Sound Recordings at the Biblioteca Nacional de España

María Jesús López Lorenzo — 2023-12-19

The Spanish National Library's collection of sound recordings has its origins in the Ministry of Education's Decree of October 13, 1938, on Legal Deposit, which legislates, for the first time, that "musical works and gramophone recordings are subject to Legal Deposit" and establishes that the phonographic producer is responsible for depositing the discs for their preservation. For this reason, since the time of the Spanish Civil War, the legislator includes sound recordings as works that must be collected and guarded to be part of the Spanish cultural and documentary heritage. This first legislation will be followed by other laws of Legal Deposit, which have allowed the catalog of recordings to become part of the Spanish cultural and documentary heritage.

Princesas e infantas solo canto yo: la princesa as an example of musical intertextuality in 18th century popular theatre Madrid.

Antonio Soriano Santacruz — 2023-12-19

Princesas were choral pieces that were used in numerous comedias. They are, therefore, a type of intertextual music that musicology has overlooked. This article will present an analysis of the musical sources needed for them to be properly defined, as well as details regarding their history and survival. It will also investigate the practice that allowed a princesa to move from one comedia to another, essentially based on the Siglo de Oro tradition of writing choruses in stanzas of four eight-syllable verses. This will shed light on a musical term used in eighteenth-century popular theatre in Madrid that is unknown today.

Cristina Diego Pacheco y Amaya S. García Pérez, dirs. 2022. Musique et lexique à la Renaissance. Une approche de la musique ancienne par ses mots. París: Classiques Garnier, 480 páginas, ISBN 978-2-406-12111-4

Santiago Galán Gómez — 2023-12-19

Victoria Eli Rodríguez, Javier Marín López y Belén Vega Pichaco, eds. 2021. En, desde y hacia las Américas. Músicas y migraciones transoceánicas. Madrid: Dykinson, 780 páginas, ISBN 978-84-1377-671-2

Enrique Cámara de Landa — 2023-12-19

Consuelo Carredano y Olga Picún, eds. 2017. Huellas y rostros. Exilios y migraciones en la construcción de la memoria musical de Latinoamérica. México: Universidad Nacional Autónoma de México, 394 páginas, ISBN 978-607- 02-9064-0

Jesús A. Ramos-Kittrell — 2023-12-19

Julia Esther García Manzano, Pedro Luengo Gutiérrez, Francisco Martín Quintero e Israel Sánchez López, coord. 2021. El análisis musical actual. Marco teórico e interdisciplinariedad. Granada: Libargo, 330 páginas, ISBN 978-84- 122419-7-6

Amaya S. García Pérez — 2023-12-19

Nieves Hernández-Romero. 2019. Formación y profesionalización musical de las mujeres en el siglo XIX: el Conservatorio de Madrid. Alcalá de Henares: Ayuntamiento de Alcalá de Henares, 670 páginas, ISBN 978-84-15005-65-0

María Palacios Nieto — 2023-12-19

Pablo Palomino. 2020. The Invention of Latin American Music: A Transnational History. Oxford: Oxford University Press, 272 páginas, ISBN 978-019-068740- 3 (impreso); 978-019-751048-3 (digital)

Laura Jordán González — 2023-12-19

Editorial

Judith Ortega — 2023-12-19