A mi ciudadescucha crítica en la construcción simbólica del Santiago de 1980

  1. Juan Pablo González R
Journal:
Revista musical chilena

ISSN: 0716-2790 0717-6252

Year of publication: 2016

Year: 70

Issue: 226

Pages: 9-30

Type: Article

DOI: 10.4067/S0716-27902016000200001 DIALNET GOOGLE SCHOLAR lock_openOpen access editor

More publications in: Revista musical chilena

Abstract

Based on the need to develop an interpretative and critical perspective of musicology, which has been postponed by the prevailing analytical approach focusing on musical writing, this article asks how popular song has symbolically built in the city. To do this, I consider fourteen songs recorded in the 1980s in Chile with Santiago as a central theme. Most of them expressed the symbolic construction of a social space stressed both by the military dictatorship and the neoliberal economic model. During this decade more songs inspired by the city of Santiago were recorded than ever before, despite the extent to which the prevailing censorship affected their production processes and mediation, generating new questions for the study of Chilean popular song in the 1980s. The article focuses on the case of "A mi ciudad" by Luis Lebert and Santiago del Nuevo Extremo, the first song to the city of Santiago of the eighties, which has since held a predominant position in the country 's memory. I also want to address aspects of canon and repertoire in popular music as well as forms of circulation and song production under dictatorship. I propose an intertextual study of "A mi ciudad" considering a cluster of musical, literary, performative, audio, visual and discursive texts, from a listening socially and historically situated. I propose that it is in the inter-relationship of these texts where the song is formed, so analyzing them separately would not allow to fully grasp their aesthetic and symbolic aspects.

Bibliographic References

  • Cook, Nicholas. (2008). The New (Ethno) musicologies. Scarecrow Press. Lanham.
  • Díaz, Rafael, González, Juan pablo. (2011). Cantus firmus: mito y narrativa de la música chilena de arte del siglo XX. Amapola Editores. Santiago.
  • Diges, Margarita. (1997). Los falsos recuerdos: Sugestión y memoria. Paidós. Barcelona.
  • Feld, Steven. (1990). Sound and Sentiment: Birds, Weeping, Poetics, and Song in Kaluli Expression. University of Pennsylvania Press. Filadelfia.
  • Franz, Carlos. (2011). La muralla enterrada. Planeta. Santiago.
  • García, Marisol. (2013). Canción Valiente, 1960-1989: Tres décadas de canto social y político en Chile. Ediciones B Chile. Santiago.
  • González, Juan Pablo. (2006). Migración amorosa y musical en ‘Run Run se fue pa’l norte’ de Violeta Parra. Ensayos. Historia y Teoría del Arte. 173-185
  • González, Juan Pablo. (2012). Marcianita: música y mujer a destiempo. Revista Brasileira de Música. 25-39
  • González, Juan Pablo. (2013). Pensar la música desde América Latina: Problemas e interrogantes. Gourmet Musical Ediciones. Buenos Aires.
  • González, Juan Pablo. (2014). ¡A sacarse la polera!: Performatividad, crítica y sentido entre los hijos de la Nueva Canción Chilena. Boletín Música. 69-78
  • Harrison, Frank, Hood, Mantle, Palisca, Claude V. (1963). Musicology. Prentice-Hall. Englewood Cliffs.
  • Hawkins, Stan. (2002). Settling the Pop Score: Pop Texts and Identity Politics. Ashgate. Aldershot.
  • Jordán, Laura. (2014). Palimpsestos sonoros: Reflexiones sobre la Nueva Canción Chilena. Ceibo Ediciones. Santiago.
  • Kerman, Joseph. (1985). Contemplating Music: Challenges to Musicology. Harvard University Press. Cambridge^eMA MA.
  • Moore, Allan. (2001). Rock: The Primary Text: Developing a Musicology of Rock. Ashgate. Aldershot.
  • Tagg, Philip. (2003). Ten Little Title Tunes. The Mass Media Music Scholar’s Press. Nueva York.
  • Yentzen, Eduardo. (2013). La voz de los setenta.