Cultural Musicology

Neste trabalho abordo o tema das mulheres na música experimental brasileira a partir de uma
perspectiva feminista. Sendo a música experimental um campo de produção vinculado à criação
artística e, muitas vezes também, ao uso de tecnologia, ele se constitui a partir de códigos de
masculinidade e é protagonizado por homens. Ao mesmo tempo que se configura como um
campo de questionamento de práticas hegemônicas na música, reproduz outras formas de
hegemonia e dominação em seu interior, como a das relações sociais de sexo, de raça e de
classe. A participação feminina, contudo, vem crescendo e tendo mais visibilidade e espaço
nesse campo no Brasil, especialmente a partir da segunda década do século XXI. O objetivo
desta tese é entender a atuação feminina nesse campo a partir da trajetória e da análise de obras
de algumas artistas bem como da análise sobre a representatividade feminina em algumas
inciativas recentes (desde 2003) de música experimental, especialmente na cidade de São Paulo.
A metodologia utilizada foi a dos estudos de caso, amparada pela pesquisa bibliográfica sobre
os campos do feminismo, estudos de gênero, e música experimental, tendo como base principal
as ferramentas da história oral. Os estudos de caso foram divididos entre os casos sobre as
inciativas promotoras e produtoras de música experimental recentes (com foco na cidade de
São Paulo) e sobre seis artistas que vem atuando na cena. Analisamos cinco iniciativas
formadoras do campo em São Paulo, assim como a Rede Sonora: músicas e feminismos.
Retomamos a trajetória e características dessas iniciativas a fim de compreender a atuação e a
inserção das mulheres no campo, em particular as das seis artistas abordadas: Isabel Nogueira,
Leandra Lambert, Lilian Campesato, Fernanda Aoki Navarro, Bella e Natacha Maurer.
Procuramos ressaltar, sobremaneira, os momentos de sua tomada de consciência do lugar
estereotipado da mulher na música e de movimentos propositivos de enfrentamento e resistência
ao cenário dominado por homens. Adotamos como marco teórico o feminismo materialista
marxista que postula que o patriarcado é um sistema que opera de forma estruturante junto ao
sistema capitalista, não sendo possível estratificar as marcações de sexo, raça e classe. A
opressão às mulheres, portanto, também é caracterizada por suas raças/etnias e classe social.
Como resultado da pesquisa, percebemos a importância da tomada de consciência das mulheres
da cena em relação à opressão patriarcal a que estão sujeitas, que se materializa de diversas
formas. No processo de conscientização, as mulheres se organizam e passam a ocupar o espaço
de forma mais propositiva e afirmativa. Artisticamente verificou-se o uso recorrente da voz de
forma não estereotipada bem como a ressignificação do uso da tecnologia digital ou eletrônica,
que passa de elemento opressor para elemento de superação. Concluímos que o campo vem se
abrindo para outra conformação social, com possibilidade de transformação parcial a partir
deste enfrentamento.

T he story begins, as is traditional, with a narrator. He opens his mouth, and without pretending he has any choice in the matter, sets things into motion with the fateful words 'Once upon a time…'. Instantly, as if operated by clockwork, characters spring into action around him: Cinderella begins wistfully preening in anticipation of a ball she is unlikely to attend, Jack begins pleading with his inadequate cow to yield some milk, and the Baker and his wife begin articulating their desire for a child. It seems just like the well-oiled inception of any other fairy tale, except for the plurality of images. The driving mechanism is there, the opening phrase has been uttered, and the spectators presumably feel ready to embark on a journey they feel satisfied and justified in assuming will bring the story to some sort of morally fortified happy ending.

Viel ist bereits über den Ursprung von Musik nachgedacht worden, der in zahlreichen Mythen, Legenden und Geschichten zwischen Kult und Religion überliefert ist. Aber auch die Entstehung neuer Musikgenres und -gattungen, Kompositionstechniken, Ästhetiken oder Theorien werden nicht selten, und zum Teil bis heute, von mythengleichen Erzählungen einer scheinbar objektiven Geschichtsschreibung begleitet. So werden Ursprungsgeschichten immer wieder dort bemüht, wo sich das ‚Neue‘ in der Musik ankündigt und der Niedergang ästhetischer Paradigmen droht. Diese Mythen, Legenden und Geschichten des Ursprungs bestimmen in vielfacher Weise auch unser heutiges Verhältnis zur Musik in Geschichte und Gegenwart. Die versammelten Beiträge stellen sich der Aufgabe, über den Ursprung von Musik zwischen Mythologie und Historiographie im europäischen und außereuropäischen Kontext grundlegend wie exemplarisch neu nachzudenken.

Much has already been thought about the origin of music, which has been handed down in numerous myths, legends and stories between cult and religion. But also the emergence of new musical genres, composition techniques, aesthetics or theories are often accompanied by myth-like narratives of an apparently objective historiography, some of which still exist today. Original stories, for example, are repeatedly sought where the 'new' in music or the decline of aesthetic paradigms announce themselves. These myths, legends and stories of origin also determine our relationship to contemporary and past music in many ways. The collected contributions are dedicated to the task of fundamentally and exemplarily rethinking the origin of music between mythology and historiography in the European and non-European context.

Resumo: Neste artigo abordo a peça Homage to Bruno Mantovani da compositora Fernanda Aoki Navarro – música composta como resposta a uma entrevista dada pelo compositor Bruno Mantovani. A partir do exemplo musical de Fernanda Aoki e apoiada em autores como Lopez, Espinoza-Vera, Perrot, Bourdieu e outros, proponho um debate sobre como o campo da música erudita reproduz discursos e práticas machistas, exclusivistas e de privilégio. Ao mesmo tempo apresento táticas de questionamento e combate aos mesmos. Palavras-chave: Fernanda Aoki Navarro. Bruno Mantovani. Feminismo. Sarcasmo. " When life gives you rocks, build a castle " – A musical attitude of Fernanda Aoki Navarro towards the dominant sexism. Abstract: In this paper I'll approach the piece Homage to Bruno Mantovani composed by Fernanda Aoki Navarro – music composed as an answer to an interview with the composer Bruno Mantovani. Taking Fernanda Aoki Navarro's music example and supported by authors such as Lopez, Espinoza-Vera, Perrot, Bourdieu and others, I pose a debate about how the classical music field reproduces speeches and sexist practices, exclusionary and of privilege. At the same time, I present tactics that question and fight those speeches and practices.

In this article I consider musical and other sonic constructions of queer identity in the television film, Angels in America (HBO, 2003).  I outline various queer strategies in the music and sound of the film, demonstrating how music and sound contribute to unfixed and unstable identities. The readings of the selected scenes in the film reveal the ways in which queer strategies operate, and how film music symbolises identity in flux.

Symposium: The Staatskapelle Berlin at 450 – A Review

“Crisis and Prosperity: The Development of Prussian Court Music from 1713 to 1806“

Venue: Staatsoper im Schiller Theater
Date: 7th- 9th October 2016

Call for Papers
Deadline: 1st April 2016

From 7th- 9th October 2016, the Staatskapelle Berlin will hold its second international symposium, in cooperation with the Prussian Palaces and Gardens Foundation, Berlin-Brandenburg. The Staatskapelle celebrates its 450th anniversary in 2020, making it one of the oldest orchestras in the world. Ahead of this occasion, the Staatsoper is holding a series of annual symposia devoted to the history of the Staatskapelle Berlin and its international significance. This year’s topic, ‘Crisis and Prosperity: The Development of Prussian Court Music from 1713 to 1806’, places a focus on the 18th century, from the dissolution of the Prussian Court in 1713 to the collapse of the ‘old’ Prussia in 1806.

El carácter innovador y feminista del mediometraje Margarita y el lobo (1969) supuso la censura total de la película y el ostracismo hacia su directora, la entonces estudiante de la EOC, Cecilia Bartolomé. En este artículo repasamos sus anteriores cortometrajes para desgranar los primeros matices de protesta así como la utilización de la expresión musical como vehículo del discurso feminista en Margarita y el lobo. A través de los planteamientos de la musicóloga Susan McClary que abordan sexualidad, género y feminismo concluimos con una visión del análisis de género en las obras musicales, al vincular sus es­tudios al film de Bartolomé. Del mismo modo, analizamos la función que cumple la música en el medio­metraje. Para ello, examinamos el repertorio de canciones presente en Margarita y el lobo para terminar reconociendo la función discursiva y referencial como piezas claves en la película de la directora.

Ensayo libre sobre el sonido y la catástrofe, realizado en el marco de la asignatura sobre arte sonoro coordinada por José Luis Sarmiento y Javier Ariza en el programa de doctorado Nuevas prácticas artìsticas y culturales en la esfera pública.

ÍNDICE
0# Introito
1# Muros y trompetas.
2# Siempre suena una canción alegre.
3# Música tras el terror Música sobre el terror. Música en el terror: El terror musical.
4# El grito plegado.
5# Silenciadores.

The goal of this study is to describe the transformations in the reception of Leoš Janáček’s Sinfonietta (1926) during the composer’s lifetime and to analyze the factors that shaped its reception. The specific features of the composition’s domestic reception are revealed by a comparison with foreign period reviews of the work. The Sinfonietta was “read” in Czechoslovakia primarily as a work with a nationalist-republican, military, and Sokol-like spirit. The predominant way of “reading” the Sinfonietta was determined by the event of its first performance during the 8th All-Sokol Rally (“všesokolský slet”) in 1926. From the time when it was composed until the end of the 1930s, the Sinfonietta was firmly linked to the official ideology and institutions of the First Czechoslovak Republic.

Poland and Lithuania at the end of the Cold War serve as a case study for the theorization of music and politics. In this article, a little-studied field of two neighbouring countries’ cultures has been chosen: oppositional musical networking, that in addition resulted in politically and socially engaged collaboration between Polish and Lithuanian musicians since late 1970s.
Basing on the concept of a transformative contact (Padraic Kenney 2004), the author reflects on the factors which predetermined the intercommunication of informal communities in mentioned countries in the years of ideological and political constraints and the ways in which such relationships contributed to the cultural and political transformation of societies. Through the interactions of the milieus of the Polish and Lithuanian contemporary music, the participation of the norms and representations of one culture in the field of the other culture is discussed. The author shows that the paradoxical constraints on the informal relations between Lithuanian and Polish musicians were strongly affected by the political relations between the USSR and the Polish People's Republic, especially in the wake of the intensification of political resistance to the imposed Communist regime in Poland.

While the whole world with its manifold cultures is facing drastic changes in the 21st century, also the music changes like in Turkey. That changes are involve to identity-dominated folk genres is the so-called Black Sea Music—the origins of which can be searched/found and still performed in Eastern Black Sea Region in Turkey: mostly Laz, Hemşin, Georgian, etc.

Since 1990s, this music is getting more and more popular. The increasing number of performers and their listeners brought forth this situation. Thus, also rendered the penetration of other popular music genres (rock, pop, techno, etc.), instruments, markets, venues, … into Black Sea Music, consequently changing its very nature.

A broader attention and a sort of nation-wide “recognition” was marked by a sad event: The passing away of the iconic musician Kazım Koyuncu in 2005, a key figure of the genre, a very beloved, adored interpreter. Hence, some other musicians, ethnographers, producers, etc., turned their faces to Black Sea Music enthusiastically if not pragmatically, which caused a revival—field researches, ethnographies, etc. saved a distinct part of the repertoire otherwise to forget about.

Thus, the popularity of Black Sea Music—in a continuous change—enhances. In Turkey, the impact of the increasing use of Caucasian elements (Georgian & Mingrelian manners and idioms such as polyphony, gestures, instruments, etc.), which play an important role therein, still need to be researched.The International Musicological Student Conference-Competition (2014)

More than a century after Guido Adler's appointment to the first chair in musicology at the University of Vienna, Music, Criticism, and the Challenge of History provides a first look at the discipline in this earliest period, and at the ideological dilemmas and methodological anxieties that characterized it upon its institutionalization. Author Kevin Karnes contends that some of the most vital questions surrounding musicology's disciplinary identities today-the relationship between musicology and criticism, the role of the subject in analysis and the narration of history, and the responsibilities of the scholar to the listening public-originate in these conflicted and largely forgotten beginnings.

Standard histories of Antonín Dvořák’s life have largely ignored his output in the field of the symphonic poem, especially his final work in the genre, Píseň bohatýrská (Heroic Song). Composed in 1897 after four other tone poems explicitly based on poems by the Czech writer and ethnographer Karel Jaromír Erben, this piece features a much more abstract program and depicts the life, travails, and ultimate victory of a Slavonic bardic hero, assumed by many to be the composer himself. It premiered in late 1898 and early 1899 in Vienna and Prague, respectively, inviting mostly favorable reviews and performances in many other European cities before sliding into obscurity after the turn of the twentieth century. I situate Píseň bohatýrská in both the context of Dvořák’s larger output and the critical discourses of the late nineteenth century, using it as a focal point to examine not only Dvořák’s mythologized image as a composer at the fin de siècle, but the history of the symphonic poem, the politics of the Vienna-Prague critical axis, and the hardening of critical orthodoxy in the twentieth century. Through an in-depth study of Píseň bohatýrská’s reception, I reveal a picture of Dvořák at once familiar and unfamiliar: as the naive, spontaneously creative absolute musician at odds, in the eyes of the critics, with the unfamiliar territory of the symphonic poem, and as a specifically Czech musician who was nevertheless placed in the same masculinized, Germanocentric composer-hero lineage of genius as Beethoven and Liszt. Nevertheless, the understanding of Dvořák as absolute Czech musician par excellence ultimately triumphed, weathering the assaults of his program music to survive into the present. This article provides a new understanding of the complexity of Dvořák’s image near the end of his life, inviting a reconsideration of the composer. Keywords: Dvořák, Píseň bohatýrská, program music, symphonic poem, reception

Complete transcription and reconstruction of the canon a13 for Christ and his Twelve Disciples on the Apostles Creed. This piece is found in both the Eton Choirbook and the Baldwin Manuscript. This edition contained both the fully realized canon as well as a modern reconstruction of the original monophonic version of the canon, as found in the manuscripts.

For a recording with a score animation see the link below:
https://www.youtube.com/watch?v=TBu66rLAv7I

In this chapter, I turn to Mina Caputo, the vocalist of the long-running alternative metal band Life of Agony, as a case study to discuss how transgenderness is negotiated in contemporary heavy metal music. Taking my point of departure from queer musicology and transgender studies, I aim to first develop transgender music research as a field that examines music in a transgender-conscious and transgender-empathetic way (Välimäki 2013a, b); second, to contribute to the queering of heavy metal music (Smith 1997; Sarelin 2009; Gregory 2013; Clifford-Napoleone 2015) and, third, to contribute to heavy metal studies with a transgendered perspective.

By practicing reparative reading (Sedgwick 2003), my focus is on how Caputo communicates transgenderness, and gender in general, to a larger audience, and how transgender subjectivity, meanings and pleasure finds its space, even under the pressures, strictures and effects of the heteronormative culture. My research materials are mixed, ranging from audio and audiovisual recordings to ethnographic observation materials and public media texts, including websites and online discussion boards related to Caputo, Life of Agony and heavy metal culture. I am particularly interested in heavy metal culture, where (supposedly) straight and queer scenes intermingle. Because of this overlapping of straight and queer scenes in the same space (Clifford-Napoleone 2015), normative conceptions of gender are effectively undermined.

Está permitida la reproducción total o parcial de esta obra, siempre y cuando se cite la autoría, sea para uso personal del lector y no tengan fines comerciales o lucrativos. Sin que se pueda alterar, transformar o generar una nueva obra a partir de esta.

En este trabajo se plantea teóricamente la existencia de androcentrismo en los puestos de producción e ingeniería del sonido en la industria musical en los que se perpetúan los modelos estereotipados de distribución laboral, donde las mujeres desempeñan o son relegadas a roles feminizados y, principalmente, están alejadas de las posiciones que conllevan autoridad. Para ello, se ha analizado el estado de los estudios musicológicos en relación con los estudios de género y la crítica feminista, estudiando la interrelación de las mujeres con la industria musical y con la tecnología del sonido musical, examinando la representación de las mismas en diversos campos profesionales y observando la construcción de redes de trabajo de mujeres en el sonido. El análisis de estos estudios sugiere que las mujeres, que se desarrollan profesionalmente en el campo del tratamiento técnico del sonido en la industria musical, podrían dotar a su labor profesional de una nueva significación de género al cuestionar el capital social y los cánones establecidos.
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In this paper the existence of androcentrism is theoretically proposed in sound production and enginee-ring positions in the music industry in which stereotypical models of labor distribution are perpetuated, where women play or are relegated to feminized roles and, mainly, they are far from positions that carry authority. For this, the state of musicological studies in relation to gender studies and feminist criticism has been analyzed, studying the interrelation of women with the music industry and with the techno-logy of musical sound, examining their representation in various professional fields and observing the construction of women’s networks in sound. The analysis of these studies suggests that women, who develop professionally in the field of technical sound treatment in the music industry, could give their professional work a new gender significance by questioning social capital and established canons.

A arte progressista pode ajudar as pessoas a aprender não apenas sobre as forças objetivas em ação na sociedade em que vivem, mas também sobre o caráter intensamente social de suas vidas interiores. Em última análise, ela pode incitar as pessoas no sentido da emancipação social. (DAVIS, 2017, p.166.). A partir de minha pesquisa de doutorado sobre a atuação das mulheres brasileiras no campo da música experimental no país (2014-2018), através de estudos de caso 1 , abordo neste artigo, as trajetórias e alguns trabalhos de Isabel Nogueira e Bella, situando como foram levadas a se posicionar politicamente e a propor em seus trabalhos metodologias e sonoridades que, de certa forma, rompem com os padrões normativos da chamada música erudita e da própria música experimental e mesmo da tradicional e estereotipada participação da mulher na música. O posicionamento político e feminista que assumem em suas trajetórias e trabalhos podem ser pensados como processos decoloniais em que se apropriam de saberes e metodologias vinculados a saberes dominantes como a tecnologia e a própria tradição composicional da música erudita (especialmente no caso de Isabel 1 Em minha pesquisa de doutorado examinei a trajetória e uma obra das artistas Bella, Fernanda Aoki Navarro, Isabel Nogueira, Leandra Lambert, Lilian Campesato e Natacha Maurer, com foco em seus processos de entrada no campo da música experimental. Para a pesquisa foram realizados estudos sobre algumas iniciativas importantes no Brasil de produção, promoção e divulgação desse tipo de música, especialmente localizados na cidade de São Paulo, com vista à representatividade e atuação das mulheres. A partir da percepção da pouca representatividade feminina e da opressão patriarcal (expressa através do descrédito, do assédio, da pouca representatividade, do subjulgamento e outros) a que estão sujeitas no campo da música experimental, as mulheres analisadas se organizaram para ocupar a cena de forma politizada, transformando-a positivamente (ainda que timidamente). Existem diferentes noções de patriarcado. Assumo a de um sistema ideológico e sociopolítico de valorização e favorecimento do masculino sobre o feminino e do homem sobre a mulher, em termos simbólicos e materiais, pela opressão e apropriação das mulheres e aquilo que elas representam no âmbito político, cultural, social e econômico, o qual fortalece e mantém o sistema de exploração e apropriação característicos do capitalismo. Ou seja, através da opressão sistêmica das mulheres, é possível explorá-las ainda mais, apropriando-se de seus corpos como "máquinas de trabalho" (FALQUET, 2016, p.40). Contudo, nem todas as mulheres são exploradas no sistema capitalista. Mulheres da classe burguesa são também opressoras e exploram tanto o trabalho realizado por homens como o trabalho realizado por outras mulheres. Há ainda uma divisão "racial" e de classe que mantém o sistema em funcionamento. A parcela feminina explorada no capitalismo é composta por mulheres trabalhadoras e negras e ou "racializadas", o que é justificado e garantido pela opressão do sistema patriarcal (que atinge a todas de maneiras diferentes). (SAFFIOTI, 1985, p.105.).

Blog essay for Musicology Now, published 12-5-17. Considers the challenge of watching/staging this canonical opera and (in)famous character in the age of Harvey Weinstein, Bill Cosby, and so many other powerful men who have abused women. What do we do with Don Giovanni (the character AND the opera) after the undeniable revelations of #metoo?

Music, as a cultural commodity, usually travels early on, and so it was that even as the first important sixteenth century mission was established in China (by Matteo Ricci and Michele Ruggieri, at Zhaoqing in 1583) Western musical instruments were present, and were the subject of admiration by the local literati. No instrument better reflected the highest level of Western technology than the pipe organ, the most complex mechanical device in Western culture from antiquity until the Industrial Revolution. In examining Chinese reactions to the organ one can note that it was precisely the technical/mechanical aspects which excited interest. Aesthetics and music were firmly secondary considerations. Thus, the organ was seen to be an instrument in the scientific, as well as or even more than in the musical sense of the word. In this way it presented a vector of technological exchange, one however not taken up until the twentieth century. This paper examines a selection of Chinese accounts of the pipe organ from the seventeenth and eighteenth centuries. Although few in number, these reports reflect a cross-section of Chinese society encountering and reacting to Western ‘others’ and Western cultural artifacts: official accounts, travel writing, and a high-culture literary essay, they display a variety of representations of incidents of cross-cultural confrontation, evaluation, and exchange.


Would my readers kindly note that Hong Kong University Press does not make electronic copies of book chapters available to authors, so please do not request a PDF. Thank you.

Aangezien je nu present bent op de muziekwebsite Noisey ga ik er voor het gemak van uit dat je – net als wij – muziek reteleuk vindt. Het maakt een feestje, het maakt je dag en het helpt je over die ex heen te komen. Maar wat gebeurt er eigenlijk in ons brein als we muziek horen? Waarom luisteren we in godsnaam naar depressieve, droevige muziek als we ons al ongelukkig voelen? En hoe kan het dat die ene track je altijd in de partymood brengt?

"At the dawn of the twenty-first century, the Nor-tec phenomenon emerged from the border city of Tijuana and through the Internet, quickly conquered a global audience. Marketed as a kind of "ethnic" electronic dance music, Nor-tec samples sounds of traditional music from the north of Mexico, and transforms them through computer technology used in European and American techno music and electronica.

Tijuana has media links to both Mexico and the United States, with peoples, currencies, and cultural goods--perhaps especially music--from both sides circulating intensely within the city. Older residents and their more mobile, cosmopolitan-minded children thus engage in a constant struggle with identity and nationality, appropriation and authenticity. Nor-tec music in its very composition encapsulates this city's struggle, resonating with issues felt on the global level, while holding vastly different meanings to the variety of communities that embrace it.

With an impressive hybrid of musicology, ethnomusicology, cultural and performance studies, urbanism, and border studies, Nor-tec Rifa! offers compelling insights into the cultural production of Nor-tec as it stems from norteña, banda, and grupera traditions. The book is also among the first to offer detailed accounts of Nor-tec music's composition process."

Sowohl im Phonogramm-Archiv, als auch im Lautarchiv gibt es Sammlungen, die als sensibel einzustufen sind. Sensibel sind sie deshalb, weil die Inhalte darauf unter ethisch fragwürdigen Bedingungen entstanden sind. Sei es in Kolonien oder Gefangenenlagern -: die Gegenstände solcher Sammlungen bedürfen eines besonderen Umgangs.
Die Wissenschaftler, die die Gegenstände dieser Sammlungen angefertigt haben, waren vor allem an einer Art Rassenkunde und den anthropologischen Unterschieden zwischen den Rassen interessiert.
Im Tagebuch eines Forschungsreisenden, - von dem ich eine persönlichere Auseinandersetzung mit seiner Arbeit erwartet habe - wird deutlich, dass es nicht das persönliche Schicksal der Probanden war, das ihn interessierte, sondern die Eigenschaften der Rasse an sich. Diese Form von induktiver Forschung spiegelte sich oft im Umgang zwischen Forschern und Probanden wieder.

Die Wissenschaftler, die sich heutzutage mit den sensiblen Sammlungen beschäftigen, fragen in dem Moment, in dem sie nach der Entstehung der Aufnahmen fragen, nach dem Schicksal der jeweiligen Probanden. Deshalb erscheint es wichtiger denn je, über eine internationale Politik der Restitution zu sprechen und dabei auf den Zusammenhang zwischen den traditionsreichen Geschichten europäischer Museen und Universitäten und dem grausamen Schicksal der vielen Menschen aufmerksam zu machen, die zu Objekten der Forschung wurden.

The article discusses the intermedial, intertextual and overwriting process of adaptation in the postmodern theater performance The Unknown Soldier, based on an iconic Finnish war novel The Unknown Soldier (1954) by Väinö Linna, and directed by Kristian Smeds (Finnish National Theater, 2007–2009). Especial emphasis is given to the use of music in the performance. The theoretical framework draws on performance studies and cultural music research, as well as on Linda Hutcheon’s notions of postmodern adaptation and critical parody.

Este artículo, de carácter historiográfico y analítico, pretende aportar desde la esfera de la musicología chilena a la reflexión en torno a los procesos de mediación de la música, en especial aquellos surgidos a partir de la grabación eléctrica del sonido. Para ello, se revisarán los efectos de la mediación tecnológica en la producción, interpretación y audición musical; la relación de los nuevos inventos de grabación y reproducción sonora con las prácticas sociales y musicales existentes; y las características y relaciones de la industria discográfica y radial. Finalmente, se contrastan dos casos de canto mediatizado en el bolero, el de Juan Arvizu y el de Lucho Gatica.

I am introducing in this paper the concept of primitive avantgarde
to characterize the experimental musical practice of the late sixties of the Chilean fusion rock band Los Jaivas (1970), a band well known in Chile in the early seventies and of some impact in Argentina and France after its self-exile in 1974. The band was influenced by the Californian hippy culture and a kind of
New Indigenism. They found in Native American people a kind of essential hippy culture, from which they approached two kind of vanguards: free improvisation and large forms of progressive rock. In the next pages I show how I search for the mode of representation of the Amerindian and the construction of a
primitive avant-garde in the improvisation sessions by Los Jaivas and in its associated discourses.

Resumen
A mediados del siglo XIX, el tema de la instauración del género lírico nacional preocupaba a los compositores españoles. Entre los as- pectos necesarios para conseguir el a anzamiento del género, el más controvertido fue cómo lograr eludir la in uencia de la hegemonía lírica italiana a nivel compositivo. En este contexto, Joaquín Espín y Guillén escribió Padilla o El asedio de Medina (1845), considerada por sus con- temporáneos como la primera ópera española. La ópera —ambientada en la época de emperador Carlos V— trata sobre el movimiento de los comuneros y presenta como uno de los personajes centrales a María de Pacheco, mujer del héroe Juan de Padilla. En este artículo se estudian las características del rol femenino encarnado por María de Pacheco en relación con el estereotipo femenino romántico (especialmente en aquellas óperas italianas decimonónicas basadas en una temática his- tórica), y la pertinencia de este rol femenino en la construcción del gé- nero lírico nacional.
Palabras clave: Ópera, nacionalismo español, Padilla, comuneros, rol femenino.

Abstract
In the Mid-Nineteenth-century, Spanish composers were concerned about the establishment of a national lyric genre. Among the issues per- taining to the consolidation of the genre, the most controversial was how to avoid the in uence of the hegemony of the Italian opera at the com- position level. In this context, Joaquín Espín y Guillén composed Padilla o El asedio de Medina (1845), considered to be the  rst Spanish opera by his contemporaries. The opera —set in the period of Carlos V— deals with the revolt of the comuneros (commoners) and María de Pacheco, wife of the hero Juan de Padilla, is presented as one of the principal characters. This article studies the features of the female role embodied by María de Pacheco in relation to the female romantic stereotype (particularly in nineteenth century Italian operas based on historical themes) and the re- levance of this female role in the construction of the national lyric genre.
Keywords: opera, national, Spanish, Padilla, comuneros, female role.

The construction of rattles from turtle (Testudines) shells is an important consideration when distinguishing between food and non-food uses of archaeological turtle remains. However, the identification of turtle shell rattles in prehistoric contexts can be quite challenging. Equifinality is a major problem for being able to distinguish rattles from food refuse, particularly when a carapace is not burnt or modified. In addition, diversity, abundance, and distribution of Chelonian taxa varies throughout the southeastern United States, creating differential access for indigenous groups. Thus, multiple lines of evidence are needed from archaeological, ethnographic, and ethnohistoric records to successfully argue for the production and use of turtle shell rattles in the prehistoric southeastern United States. In this article, we present examples of turtle shell rattles in the southeastern United States to highlight their function and use by indigenous groups, the construction process, and several common characteristics, or an object trait list, that can aid in the identification of fragmentary turtle shell rattle remains. Proper identification of turtle remains is important for interpreting faunal remains and may be of interest to indigenous groups claiming cultural items under the Native American Graves Protection and Repatriation Act (NAGPRA).