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While the commercial musical stream of "Latin American Baroque" has been associated with musical cross-breeding, the study of the colonial repertoire that composes it documents quite the opposite: the absence of non-European musical features. By accepting the impossibility to find the written "Mestizo Baroque", this research chooses to "re-imagine it" from orality. Taking the Fandango musical family as a framework, this research enters into playful dialogues between the XVIII century European fandango and its surviving folklore counterparts: the Mexican Son Huasteco and the Colombo-Venezuelan Joropo. Through analysis and transcription of oral sources, style comparison, arrangement, and improvisation this research aims to create a musical product that reclaims the mixed-raced identities, erased from colonial archives, in today´s Early Music industry.

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  • contents
    • Index
    • Introduction
    • 1.1. Problem Statement: Latin American Baroque is not Latin American
    • 1.1. History of the Fandango
    • 1.2. Fandango as a Ritual
    • 1.3. Fandango as a Musical Family
    • 2.1. Huapango
    • 2.2. "El Fandanguito" 1 and A Baroque Fandango Style Copy
    • 2.3. El Fandanguito" 2 and Boccherini´s Fandango
    • 2.4. Experiments with Historical Bow-Grip in Huapango
    • 3.1. Joropo
    • 3.2. Results: Suite Cantaclaro
    • 3.3. Results: Postcolonial Fandango
    • 3.4. Conclusions
    • Bibliography
    • Camilo Arias
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  • abstract
    While the commercial musical stream of "Latin American Baroque" has been associated with musical cross-breeding, the study of the colonial repertoire that composes it documents quite the opposite: the absence of non-European musical features. By accepting the impossibility to find the written "Mestizo Baroque", this research chooses to "re-imagine it" from orality. Taking the Fandango musical family as a framework, this research enters into playful dialogues between the XVIII century European fandango and its surviving folklore counterparts: the Mexican Son Huasteco and the Colombo-Venezuelan Joropo. Through analysis and transcription of oral sources, style comparison, arrangement, and improvisation this research aims to create a musical product that reclaims the mixed-raced identities, erased from colonial archives, in today´s Early Music industry.
  • Camilo Arias - Camilo Arias - Master Research Last Sand - 2023
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INTRODUCTION AND RESEARCH QUESTION

 

PART 1: BACKGROUND


1.1. PROBLEM STATEMENT: LATIN AMERICAN BAROQUE IS NOT LATIN AMERICAN


1.2. HISTORY OF THE FANDANGO


1.3. FANDANGO AS A RITUAL


1.4. FANDANGO AS A MUSICAL FAMILY 

INDEX:

PART 2: ARTISTIC RESEARCH ON HUAPANGO


2.1. HUAPANGO


2.2. "EL FANDANGUITO" 1 AND A BAROQUE FANDANGO STYLE COPY

 

2.3. "EL FANDANGUITO" 2 AND BOCCHERINI´S FANDANGO 


2.4. EXPERIMENTS WITH HISTORICAL BOW GRIP IN HUAPANGO

PART 3: ARTISTIC RESEARCH ON  JOROPO, RESULTS AND CONCLUSIONS


3.1. JOROPO AND EXPERIMENTS WITH THE CUATRO


3.2. RESULTS: SUITE CANTACLARO


3.3. RESULTS: POSTCOLONIAL FANDANGO


3.4. CONCLUSIONS

 

 

BIBLIOGRAPHY