| Before starting the discussion on the topic of this article appears desirable general definition of what we mean by nationalism in music. The term first appears in the second half of the nineteenth century, has been used to describe a type of sound art on the basis of which is organically present the folklore of a region or country. However, using materials from the popular musical compositional practice has been referred much earlier than a century. Already in the Middle Ages we find copious examples of how the art of jugglers and minstrels influenced the development of Gregorian chant and court music, make use of popular audio materials for the writing of his works was a recurring practice of composers such as Monteverdi, Haydn Brahms among others, are taking a popular melody or air and are reprocessed according to the technical and aesthetic resources of the composer in question. What then makes the relationship between "popular" and "cult" acquire specific characteristics of musical aesthetics in the second half of the nineteenth century. When in Russia the so-called Group of Five (with Rimsky-Korsakov at the top) faced the academicism of the St. Petersburg Conservatory led by Anton Rubinstein, proclaiming the need for Russian roots music and a break with the aesthetic standards from Paris, were laying the foundations for a new perspective of musical creation: not only are trying to use materials from the regional folklore, but also and especially, a definition of national identity together in a specific way to feel and express the music. This renewal movement spread rapidly throughout the Nordic and Eastern Europe at this time displayed works such as Boris Gudonov (1874) of Moussorgsky, Slavonic Dances (1878) Dvorak and Finland (1899) Sibelius, all with a strong national land led to Symphony Orchestra for this period has already been constituted as the musical instrument par excellence. Was, in short, the response of northeastern Europe to the aesthetic hegemony Latin neerlandésgermánico trunk. appears in a later generation the decisive figure of Bela Bartok, who along with Kodaly made one of the first serious research in archives around the folklore of his country. Bartók collected and analyzed more than seven hundred melodies of Eastern Europe (Including Turkey), but its importance lies primarily in having synthesized the influences from Brahms, Wagner, Liszt and Bach in particular, with the findings of his research in archives. The result of this synthesis is a work deeply rooted in Hungarian but the general evolution of Western music. Works such as Music for Strings, Percussion and Celesta (1937) and Concerto for Orchestra (1943) are magnificent examples of not only regional identity but at the same time, modernity and technical solvency composition. Now, what is happening in the second half of the nineteenth century in Latin America? Music this period in our country was basically "salon music" dance music, where short forms predominated, and the piano was presented as the instrument par excellence. Emerge from the popular dance airs like syrup and the Contra in Mexico, and modinha Landu in Brazil, and Havana in Cuba Danzon, the sambas and vidalitas in Argentina and Venezuela Creole waltz. But many Latin American composers of those years were no more than mere amateurs or dilettantes, and were content with the use of popular tunes in terms of plain and enjoyment, without any pretense aesthetic background. In this first phase is defined by the director and Uruguayan essayist Hugo Lopez Chirico as a proto-national , we find composers like Felipe Villanueva (1862-1893) in Mexico, Ignacio Cervantes (1810-1884) in Argentina, Francisco Manuel da Silva (1795-1864) in Brazil and Ramon Delgado Palacios (1867-1902) in Venezuela. The next stage of this process is marked by the emergence of a generation of composers certainly more technology. Some of them have a rigorous training and also the concern of Latin music to give a formal screening and aesthetics in terms of regional identity. However, there is a rather superficial knowledge of the music that comes from folklore, that is, there is still no basic musicological research. Thus, the musical materials are somewhat mechanically transplanted within a language policy of European music. The desire to produce a work rooted in the folklore is obvious, but the results are still halfway. In this phase, identified as Lopez Chirico subjective nationalism belong composers Manuel Ponce (1882-1942) in Mexico, considered a true pioneer of the nationalist movement in the region: Alexander Levy (1864-1948) and Alberto Nepomuceno (1864-1920) in Brazil, Alberto Williams (1862-1952) in Argentina, Humberto Allende (1885-1959) in Chile. It should be noted that all studies conducted in Europe, especially in Paris and Milan (William was a disciple of César Franck for example). Heitor Villa-Lobos With this process reaches its maturity stage. Villa-Lobos who was a competent cellist, was (like Moussorgsky) a self-taught composer. Between 1905 and 1910 he traveled all over Brazil to collect folk music of different signs. By this time he admits the influence of Wagner and Puccini, but the process of assimilation of the music of his country has already begun. Known in Brazil in 1918 to Darius Milhaud and Arthur Rubinstein who encourage him to go live to Paris where he resides for a period of six years. Back in Brazil becomes unquestionably the most influential musician of his country and one of the most important of the region. Production of Villa-Lobos (about two hundred works) is interesting to note his Bachianas Brasileiras (1930-1945), in which he did similar work to that of Bartók, synthesizing the wonderful counterpoint of Bach with folklore materials from the Brazilian. The identification of Villa-Lobos with its folklore was such that once went on to say: "I am folklore." At this stage of maturity, which could be described as objective national , we find full awareness of the nature of folk material used: knowledge of the system scales from which they derive the highest, knowledge of the specific type of polyrhythm and Polarimetry of folk music, and especially, knowledge of the structural possibilities that arise from this type of music. In Mexico, nationalism finds its highest expression in the works of Carlos Chávez and Silvestre Revueltas. The latter, the most interesting in my opinion, is taking a nationalist stance, but imbued with a personal aesthetic that involves a highly structured and innovative work. Unlike Chavez, Revueltas Mexico seeks daily influences of Mexico expressed "in the turmoil of the markets, bright colors and garish, in sum, that the people of Mexico from 1930. Between 1937-1938 Revueltas wrote the symphonic poem Sensemayá, his work perhaps more contained. It uses the poem of the same name as the Cuban Nicolás Guillén (which is subtitled Song for killing a snake) built around a chorus with purely phonetic features: Mayombe-bombe-Mayombé, where Revueltas derived rhythmic conception of the work, achieving an impressive wealth of drawings and instrumental colors. It should be noted that Latin American nationalism was not, in any way a synchronous process for all countries. Furthermore, the heterogeneity of Latin American cultures has produced the coexistence of nationalism with other styles, so it is not possible geographical and temporal needs of the process in question. In Argentina, this movement is fully represented by the figures of Juan José Castro and Alberto Ginastera. Ginastera studied piano and composition at the National Conservatory of Buenos Aires. In 1942 he won a Guggenheim fellowship enabled him to study at Tanglewood with Aaron Copland. Back in Buenos Aires founded in the early 60's, the Center for Advanced Musical Studies Institute Torcuato di Tella, which had a capital importance for the next generation of composers. In Ginastera (who was an active teacher of composition), as in Castro, it is possible to detect clear traffic from nationalist positions to positions closer to the so-called contemporary music (especially that which is apparent from the beginning of the second school musical Vienna). Certainly there is a gap in language between the Twelve American Preludes 1944 and Cantata for Magic America 1960, both of Ginastera. This distance, does nothing to confront the thesis that Nationalism Musical America had reached its end, just when he had achieved their stage peak. The reason is clear: the nationalist ideas came to the area when operating one of the most radical revolutions in the Western musical language, the suspension of the concept of tonality, and expansion of the universe of sound considered suitable to be used as composite material. John Cage had already experimented with the "prepared piano" in Amores 1943, and used the I Ching as a tool for manipulation of random piano Music of Changes for 1951. And this only as an example. Other nationalist composers of many that we can name are: Amadeo Roldan, Cuba (1900-1939), Juan Orrego-Salas, Chile (1919) who had a similar process by Ginastera, Eduardo Fabini, Uruguay (1882-1950), Antonio Estévez, Venezuela (1916-1988), Andrés Sas, Peru (1900-1967), Guillermo Uribe Holguín, Colombia (1880-1971). It remains to review the musical production from the 60's to present day, and especially what Lopez referred to as postnationalism Chirico assertive, and express this in the new generation of American composers. remains to review the fantastic experience that meant the Instituto Di Tella in Buenos Aires for music creation in the region. Even the problem of the identity of Latin American art music seems to be force, fortunately, there are still plenty of music to compose. Victor Varela Article published in Amsterdam South in April 1994. Bibliography Aretz, Isabel (Reporter): Latin America artist. UNESCO, Siglo XXI Editores, Latin America Series in Culture, 1977, 344 pp Cage, John: For birds. Conversations with Daniel Charles. Monte Avila Editores, 1981, 319 pp. Hauser, Arnold. Sociology art. Madrid, Guadarrama, 1975. Volume I, 468 pp, Volume II, 565 pp. Lopez Chirico Hugo: The "Cantata Criolla" Antonio Estévez. National Council of Culture. American Institute of Musical Research "VE Sojo. Research Series 6, 1987, 349 pp Ramón y Rivera, Luis Felipe: 50 years of music in Caracas 1930-1980. National Council of Culture. American Institute of Musical Research "VE Sojo. Research Series 6, 1988, 208 pp. |
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