Testimonial del Nuevo Cancionero: las prácticas musicales como discurso social y el rol del intelectual comprometido en la década del sesenta
This paper deals with the analysis of the record production Testimonial del Nuevo Cancionero (1965), which contains poems of Armando Tejada Gómez (recited by its author) and songs with lyrics of Tejada Gómez and music of Manuel Oscar Matus. The performance is led by Matus (voice), Luis Amaya (guitar...
| Main Authors: | , , |
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| Format: | Article |
| Language: | English |
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Pontificia Universidad Católica de Chile
2014-06-01
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| Series: | Resonancias |
| Subjects: | |
| Online Access: | https://resonancias.uc.cl/n-34/testimonial-del-nuevo-cancionero-las-practicas-musicales-como-discurso-social-y-el-rol-del-intelectual-comprometido-en-la-decada-del-sesenta-es/ |
| Summary: | This paper deals with the analysis of the record production Testimonial del Nuevo Cancionero (1965), which contains poems of Armando Tejada Gómez (recited by its author) and songs with lyrics of Tejada Gómez and music of Manuel Oscar Matus. The performance is led by Matus (voice), Luis Amaya (guitar), Rodolfo Mederos (bandoneon) and an IFT Theatre choral group (Buenos Aires). This record production is considered as a complex object that can be analyzed from different units and, as a whole, allows to observe not only a positioning of the subjects involved within the field of Argentine folklore in the 60’s, but also within a particular social and political situation. We are interested in observing how, through practices and discourses, social actors are involved as individuals and as members of a social group, taking political and ideological stands. At this point, the debate of the role of intellectuals -and the artists- gains relevance, in a context marked by profound social and political transformations. In order to address these issues, we will take musicological analytical tools into account, as well as other tools from political discourse analysis. |
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| ISSN: | 0717-3474 0719-5702 |