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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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navigation
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abstract
The musical label of "Latin American Baroque" has been associated with musical cross-breeding, allthough the body of its repertorie (music from colonial archives) documents rather the absence of afro-hispanic or hispanic-amerindian musical features. By accepting the impossibility to find the written the exoticized "Mestizo Baroque", this research chooses to "re-imagine it" from orality. Taking the Fandango musical family as a framework, it 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 research aims to create a musical product that resolves the identity tensions present in the Performance of Colonial Baroque Music.
- Camilo Arias - Postcolonial Fandango: Interdisciplinarity between Early Music, Ethnomusicology and Postcolonial Studies - 2024
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