Moreover, developing pedagogical connections with the “here and now” creates diverse levels of relevancy in music history teaching. Drawing from her experience teaching in border states-California, Texas, and New Mexico-the author discusses the ways in which emphasizing the cultural complexities of expressive cultures at the U.S.-Mexico border provides multiple pedagogical possibilities for inclusion of Hispanic musics in the curriculum. more This essay takes a stance that aims to destabilize music history narratives that confine music according to nation-state divisions in order to embrace the study of musical flows across borders. This essay takes a stance that aims to destabilize music history narratives that confine music ac. The result is a community-oriented experimental atmosphere that has reached levels of inclusion and female equality rarely seen in experimental music scenes. To the “Gatas,” the city is a place where “everything is possible.” She argues that this sentiment of endless potential drives performers to experiment with sound, noise, technology, and the environment and to engage in activities that foster a feminist ideal rooted in a Hispanic connection. Alonso- Minutti examines how the practices fostered in the festival are tied to a locally perceived freedom granted by Albuquerque’s complex cultural makeup. Initiated by young female Hispanic musicians as an attempt to counteract the white male dominance of local music scenes, Gatas y Vatas has become a catalyst of female empowerment where participants experience liberation while defying gender norms in an all-inclusive environment. more This chapter centers on the activities of Gatas y Vatas, an annual experimental music festival in New Mexico that features solo performances by local practitioners. This chapter centers on the activities of Gatas y Vatas, an annual experimental music festival in. This book contributes to the current conversations about music experimentalism while providing new points of entry to further reevaluate the field. The conversation takes as starting point the 1960s, a decade that marks a crucial political and epistemological moment for Latin America militant and committed aesthetic practices resonated with this moment, resulting in a multiplicity of artistic and musical experimental expressions.Įxperimentalisms in Practice responds to recent efforts to reframe and reconceptualize the study of experimental music in terms of epistemological perspective and geographic scope, while also engaging traditional scholarship. Challenging the notion of experimentalism as defined in conventional narratives, contributors take a broad approach to a wide variety of and Latin American music traditions conceived or perceived as experimental. more Experimentalisms in Practice explores the multiple sites in which experimentalism emerges and becomes meaningful beyond Eurocentric interpretative frameworks. Asimismo, propongo considerar el análisis musical como un ejercicio afectivo y performativo cuyo centro no es la partitura, sino la escucha subjetiva de quien se acerca a la música.Įxperimentalisms in Practice explores the multiple sites in which experimentalism emerges and bec. El uso de herramientas autoetnográficas me ha permitido articular un tipo de feminismo decolonial disruptivo que revela las contradicciones de los paradigmas colonialistas de objetividad a los que se ha adherido la musicología histórica. Tomando como punto de partida mi reciente trabajo centrado en la obra del compositor mexicano Mario Lavista (1943-2021), en este breve estudio abordo las maneras en las que utilizo la escritura afectiva para contrarrestar la neutralidad y racionalidad de modelos heteropatriarcales de la disciplina que han desacreditado los acercamientos a la música desde el afecto y la emoción. La presión por producir narrativas biográficas objetivas se vuelve aún más urgente cuando se trata de investigar la música de compositores vivos, con quienes se asume que se debe adoptar un mayor distanciamiento crítico. Este juicio de valor se presenta, sobre todo, en trabajos conducidos por mujeres, quienes han sido históricamente cosificadas como ‘seres emocionales’ dentro de la dicotomía mente-emoción. En dichos parámetros cualquier acercamiento afectivo hacia el material investigado es juzgado como carente de rigor académico. more La musicología histórica, la cual todavía se rige en gran parte por modelos colonialistas, ha establecido parámetros de escritura biográfica que parten de una supuesta objetividad y un distanciamiento crítico de la investigadora con respecto al sujeto de estudio. La musicología histórica, la cual todavía se rige en gran parte por modelos colonialistas, ha est.
0 Comments
Leave a Reply. |