En 2013 muere en La Habana el musicólogo cubano Danilo Orozco. De sólida formación científica y m... more En 2013 muere en La Habana el musicólogo cubano Danilo Orozco. De sólida formación científica y manifiesta vocación social, no solo fue autor y responsable de un sinnúmero de estudios que lo sitúan entre los más destacados musicólogos del siglo XX, sino que además acometió y gestó una prolífica labor en la promoción y valoración del acervo musical de su Cuba natal, especialmente de los músicos campesinos y olvidados con quienes mantuvo contacto y relación permanente a lo largo de su trabajo de campo. Lejos de percibir el estudio de la música en campos disciplinarios segmentados, practicó una musicología integrativa, en la que la música se explica por sus procesos musicales y no según su situación histórica, cultural o social. Aunque para muchos su más resonado logro habría sido la tesis doctoral que defendió en 1987 en la Universidad Humboldt de Alemania, sin duda que su mayor legado ha sido la magna labor que desarrolló con los músicos del Oriente cubano. Hoy está pendiente la divulgación masiva de su trabajo intelectual el que, sin dudas, fue apoteósico.
The Cuban musicologist Danilo Orozco died in 2013 in Havana, Cuba. He was able to combine a solid scientific background with a deep commitment to social work. As the writer of or the responsible for numerous musicological studies, he stands among the most important scholars of the twentieth century. He undertook and handled a multifarious effort to further and value the musical heritage of his native Cuba, showing a special care for peasant musicians many of whom had been by then forgotten. He kept in permanent contact and had a close relationship with them as part of his musicological fieldwork. For him music could not be studied from the standpoint of isolated disciplinary fields. Far from that, he practised a widely encompassing musicology considering music on the basis of the musical processes themselves, rather than from the historical, cultural or social situation. For many his most outstanding achievement was his doctoral dissertation submitted in 1987 at the Humboldt University in Germany. However his most enduring legacy has to do with the monumental work that he carried out with musicians of the Oriente province in Cuba. Doubtless his intelectual endeavor was truly gigantic. However it has yet to be made widely known.
Este artículo revisa, a la luz de la documentación histórica y los testimonios personales, el can... more Este artículo revisa, a la luz de la documentación histórica y los testimonios personales, el canon que vindica a Violeta Parra como la fundadora de la Nueva Canción chilena y vincula la figura de Margot Loyola como portadora de un proceso inicial y determinante, el que por ignorancia ha tenido un bajo reconocimiento público. Para el análisis se segrega el plano creativo del interpretativo, revisando en éste último las corrientes estéticas que predominan en las propuestas y productos musicales de los artistas del citado movimiento. Se establece además, las diferencias estéticas y concordancias ideológicas que sustenta el trabajo de ambas artistas, se cuestiona el valor absoluto del canon y se interpretan causas que habrían originado la marginación de Margot Loyola en la historia oficial del movimiento.
This article check historic documents and personal evidence, that vindicate Violeta Parra as the founder of the new chilean song and link Margot Loyola as the carrier of the initial and determinant process, that by ignorance have had a low public recognition. For the analysis the creative and the interpretative level have been segregated, analysing in the last one (interpretative) the esthetic currents that predominate in the proposal and musical products of the artists from the mentioned movement. Also it is established the esthetic differences and the ideological agreements that support the work of both artists, absolute cannon value is being questioned and which causes that can origin the marginalization of Margot Loyola in the history of the official movement are being interpretated.
En 2013 muere en La Habana el musicólogo cubano Danilo Orozco. De sólida formación científica y m... more En 2013 muere en La Habana el musicólogo cubano Danilo Orozco. De sólida formación científica y manifiesta vocación social, no solo fue autor y responsable de un sinnúmero de estudios que lo sitúan entre los más destacados musicólogos del siglo XX, sino que además acometió y gestó una prolífica labor en la promoción y valoración del acervo musical de su Cuba natal, especialmente de los músicos campesinos y olvidados con quienes mantuvo contacto y relación permanente a lo largo de su trabajo de campo. Lejos de percibir el estudio de la música en campos disciplinarios segmentados, practicó una musicología integrativa, en la que la música se explica por sus procesos musicales y no según su situación histórica, cultural o social. Aunque para muchos su más resonado logro habría sido la tesis doctoral que defendió en 1987 en la Universidad Humboldt de Alemania, sin duda que su mayor legado ha sido la magna labor que desarrolló con los músicos del Oriente cubano. Hoy está pendiente la divulgación masiva de su trabajo intelectual el que, sin dudas, fue apoteósico.
The Cuban musicologist Danilo Orozco died in 2013 in Havana, Cuba. He was able to combine a solid scientific background with a deep commitment to social work. As the writer of or the responsible for numerous musicological studies, he stands among the most important scholars of the twentieth century. He undertook and handled a multifarious effort to further and value the musical heritage of his native Cuba, showing a special care for peasant musicians many of whom had been by then forgotten. He kept in permanent contact and had a close relationship with them as part of his musicological fieldwork. For him music could not be studied from the standpoint of isolated disciplinary fields. Far from that, he practised a widely encompassing musicology considering music on the basis of the musical processes themselves, rather than from the historical, cultural or social situation. For many his most outstanding achievement was his doctoral dissertation submitted in 1987 at the Humboldt University in Germany. However his most enduring legacy has to do with the monumental work that he carried out with musicians of the Oriente province in Cuba. Doubtless his intelectual endeavor was truly gigantic. However it has yet to be made widely known.
Este artículo revisa, a la luz de la documentación histórica y los testimonios personales, el can... more Este artículo revisa, a la luz de la documentación histórica y los testimonios personales, el canon que vindica a Violeta Parra como la fundadora de la Nueva Canción chilena y vincula la figura de Margot Loyola como portadora de un proceso inicial y determinante, el que por ignorancia ha tenido un bajo reconocimiento público. Para el análisis se segrega el plano creativo del interpretativo, revisando en éste último las corrientes estéticas que predominan en las propuestas y productos musicales de los artistas del citado movimiento. Se establece además, las diferencias estéticas y concordancias ideológicas que sustenta el trabajo de ambas artistas, se cuestiona el valor absoluto del canon y se interpretan causas que habrían originado la marginación de Margot Loyola en la historia oficial del movimiento.
This article check historic documents and personal evidence, that vindicate Violeta Parra as the founder of the new chilean song and link Margot Loyola as the carrier of the initial and determinant process, that by ignorance have had a low public recognition. For the analysis the creative and the interpretative level have been segregated, analysing in the last one (interpretative) the esthetic currents that predominate in the proposal and musical products of the artists from the mentioned movement. Also it is established the esthetic differences and the ideological agreements that support the work of both artists, absolute cannon value is being questioned and which causes that can origin the marginalization of Margot Loyola in the history of the official movement are being interpretated.
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The Cuban musicologist Danilo Orozco died in 2013 in Havana, Cuba. He was able to combine a solid scientific background with a deep commitment to social work. As the writer of or the responsible for numerous musicological studies, he stands among the most important scholars of the twentieth century. He undertook and handled a multifarious
effort to further and value the musical heritage of his native Cuba, showing a special care for peasant musicians many of whom had been by then forgotten. He kept in permanent contact and had a close relationship with them as part of his musicological fieldwork. For him music could not be studied from the standpoint of isolated disciplinary fields. Far from that, he practised a widely encompassing musicology considering music on the basis of the musical processes themselves, rather than from the historical, cultural or social situation. For many his most outstanding achievement was his doctoral dissertation submitted in 1987 at the Humboldt University in Germany. However his most enduring legacy has to do with the monumental work that he carried out with musicians of the Oriente province in Cuba. Doubtless his intelectual endeavor was truly gigantic. However it has yet to be made widely known.
This article check historic documents and personal evidence, that vindicate Violeta Parra as the founder of the new chilean song and link Margot Loyola as the carrier of the initial and determinant process, that by ignorance have had a low public recognition. For the analysis the creative and the interpretative level have been segregated, analysing in the last one (interpretative) the esthetic currents that predominate in the proposal and musical products of the artists from the mentioned movement. Also it is established the esthetic differences and the ideological agreements that support the work of both artists, absolute cannon value is being questioned and which causes that can origin the marginalization of Margot Loyola in the history of the official movement are being interpretated.
The Cuban musicologist Danilo Orozco died in 2013 in Havana, Cuba. He was able to combine a solid scientific background with a deep commitment to social work. As the writer of or the responsible for numerous musicological studies, he stands among the most important scholars of the twentieth century. He undertook and handled a multifarious
effort to further and value the musical heritage of his native Cuba, showing a special care for peasant musicians many of whom had been by then forgotten. He kept in permanent contact and had a close relationship with them as part of his musicological fieldwork. For him music could not be studied from the standpoint of isolated disciplinary fields. Far from that, he practised a widely encompassing musicology considering music on the basis of the musical processes themselves, rather than from the historical, cultural or social situation. For many his most outstanding achievement was his doctoral dissertation submitted in 1987 at the Humboldt University in Germany. However his most enduring legacy has to do with the monumental work that he carried out with musicians of the Oriente province in Cuba. Doubtless his intelectual endeavor was truly gigantic. However it has yet to be made widely known.
This article check historic documents and personal evidence, that vindicate Violeta Parra as the founder of the new chilean song and link Margot Loyola as the carrier of the initial and determinant process, that by ignorance have had a low public recognition. For the analysis the creative and the interpretative level have been segregated, analysing in the last one (interpretative) the esthetic currents that predominate in the proposal and musical products of the artists from the mentioned movement. Also it is established the esthetic differences and the ideological agreements that support the work of both artists, absolute cannon value is being questioned and which causes that can origin the marginalization of Margot Loyola in the history of the official movement are being interpretated.