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vol.60 issue205La ansiedad escénica en intérpretes musicales chilenosCanto para una semilla: Luis Advis, Violeta Parra y la modernización de la música popular chilena author indexsubject indexarticles search
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Revista musical chilena

Print version ISSN 0716-2790

Abstract

MERINO MONTERO, Luis. Canon musical y canon musicológico desde una perspectiva de la música chilena. Rev. music. chil. [online]. 2006, vol.60, n.205, pp.26-33. ISSN 0716-2790.  http://dx.doi.org/10.4067/S0716-27902006000100002.

music, within a tripartition involving the composer, his work and the impact of music upon an audience as a result of the social process of music comunication. For many years the music from Central Europe and its canon was considered in Latin America as the musical language par excellence. All other musics were valued by the yardstick of European art music. The canonizing was carried out by musicologists, composers or less frequently by performers, usually in a totally unrelated manner. With the establishment of a mass culture in the fifties, typical of the so called Latin American modernity, and the massive thriving of creation within the various music traditions of Latin American culture, art music no longer is the only possible canonic reference. Quite to the contrary, canonic references in Chile and Latin America after 1950 frequently have nothing to do with art music. This poses a great challenge to musicology, which must be tackled by crossing both musicological and non musicological disciplines. Besides, a musicological critique should be developed, as the basis for the value judgement, involving musicologists, composers and performers

Keywords : Canon, value judgement; Latin American modernity; musicological critique; art music.

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