Música para una izquierda latinoamericana: el Concierto de Santiago de Mario Kuri-Aldana

• Garnier García, Renier ^[1]
  1. [1] Universidad Nacional Autónoma de México

     Universidad Nacional Autónoma de México

     México

     
• Localización: AV Notas: Revista de Investigación Musical, ISSN-e 2529-8577, Nº. 11, 2021, págs. 39-62
• Idioma: español
• Títulos paralelos:
  • Music for a latin american left-wing: the Concierto de Santiago by mario Kuri-Aldana
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    El presente artículo propone un acercamiento a las estrategias compositivas seguidas por Mario Kuri-Aldana en el Concierto de Santiago (1973), obra concebida en el contexto de la cultura musical académica latinoamericana que forma parte de un campo intelectual de izquierda alineado ideológicamente con la revolución cubana, instituido en torno a la Casa de las Américas, Cuba, durante la década de 1970. Como núcleo metodológico, centro el trabajo en las relaciones significantes entre culturas musicales, pensamiento estético del individuo creador y elecciones discursivas, por cuanto las expresiones artísticas no solo reflejan un contexto social, sino que lo constituyen. Utilizo como fuentes primarias de información, además de la partitura manuscrita del concierto, diversos materiales relativos a la cultura musical académica mexicana relacionada con Cuba en los 70: artículos de creadores, investigadores y del propio Kuri-Aldana, publicados en el boletín Música de la Casa de las Américas, programas de conciertos, noticias salidas a la luz en periódicos cubanos y legajos que relatan distintas facetas de esta actividad. El análisis documental y musical que desarrollo, identifica las estrategias compositivas mediante las que Kuri-Aldana entextualiza su poética creativa que denomina “nacionalismo popular”, sus ideales latinoamericanistas, así como su imaginario sonoro alrededor de la Cuba revolucionaria de entonces. Estudio así un caso representativo de los nexos regionales y de los discursos que se generaron en la esfera pública latinoamericana marcados por las ideas de izquierda nucleadas en la Isla caribeña.Music for a latin american left-wing: the Concierto de Santiago by mario Kuri-AldanaAbstractThis article proposes an approach to the compositional strategies followed by Mario Kuri-Aldana in Concierto de Santiago (1973), a work conceived in the context of Latin American academic musical culture that is part of a left-wing intellectual field ideologically aligned with the Cuban revolution, instituted around Casa de las Américas, Cuba, during the 1970s. As a methodological nucleus, the work is focused on significant relationships between musical cultures, aesthetic thought of the creative individual and discursive choices, since artistic expressions not only reflect a social context, but constitute it. As primary sources of information, in addition to the handwritten score of the concerto, various materials related to Mexican academic musical culture related to Cuba in the 70s: articles by creators, researchers and Kuri-Aldana himself, published in the bulletin Música of the Casa de las Américas, concert programs, news released in Cuban newspapers and files that relate different facets of this activity, were used. The documentary and musical analysis developed identifies the compositional strategies by which Kuri-Aldana entextualize his creative poetics that he calls “popular nationalism”, his Latin Americanist ideals, as well as his sonorous imaginary around the revolutionary Cuba of that time. Thus, a representative case of the regional ties and the discourses that were generated in the Latin American public sphere marked by left-wing ideas nucleated in the Caribbean island was studied here.

  • English

    This article proposes an approach to the compositional strategies followed by Mario Kuri-Aldana in Concierto de Santiago (1973), a work conceived in the context of Latin American academic musical culture that is part of a left-wing intellectual field ideologically aligned with the Cuban revolution, instituted around Casa de las Américas, Cuba, during the 1970s. As a methodological nucleus, the work is focused on significant relationships between musical cultures, aesthetic thought of the creative individual and discursive choices, since artistic expressions not only reflect a social context, but constitute it. As primary sources of information, in addition to the handwritten score of the concerto, various materials related to Mexican academic musical culture related to Cuba in the 70s:

    articles by creators, researchers and Kuri-Aldana himself, published in the bulletin Música of the Casa de las Américas, concert programs, news released in Cuban newspapers and files that relate different facets of this activity, were used. The documentary and musical analysis developed identifies the compositional strategies by which Kuri-Aldana entextualize his creative poetics that he calls “popular nationalism”, his Latin Americanist ideals, as well as his sonorous imaginary around the revolutionary Cuba of that time. Thus, a representative case of the regional ties and the discourses that were generated in the Latin American public sphere marked by left-wing ideas nucleated in the Caribbean island was studied here.