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Diagonal: An Ibero-American Music Review is the open access online journal of the Center for Iberian and Latin American Music at the University of California, Riverside. Its purpose is to highlight the latest research into the vast musical heritage of Iberia and Latin America, as well as other regions once under Iberian colonial rule whose cultural traditions bear some imprint of Spanish or Portuguese influence, e.g., the Philippines or parts of the United States. The name refers to the fact that the journal's mission cuts across disciplinary and regional boundaries. It accepts contributions in Spanish, Portuguese, or English from scholars in musicology, ethnomusicology, and related disciplines. Diagonal: An Ibero-American Music Review is a peer-reviewed journal with an editorial board, and it conforms to the highest standards of modern humanistic scholarship.

ARTICLES

Carlos Cano, voz capturada en una Andalucía A duras penas (1976). Canción de protesta social, ambiente persónico e identidades transfonográficas en la Transición española

Este trabajo examina la figura del cantautor Carlos Cano y su primer LP A duras penas (Gong-Movieplay, 1976) desde la perspectiva del análisis de la canción grabada, entendiendo los diferentes tracks del disco como espacios para la articulación de discursos y prácticas sociopolíticas a través de lo sonoro en el contexto de la Andalucía de la Transición. Tras una conceptualización de la “nueva canción andaluza”, se presenta un enfoque analítico que pone en diálogo fuentes fonográficas y hemerográficas (especialmente, referencias en revistas culturales y políticas andaluzas, y otras publicaciones periódicas estatales de los setenta). Por un lado, se estudian las relaciones entre vocalidad y ambiente persónico, para lo cual se toma en consideración la tripartición de la voz -performerpersonaprotagonist- y la noción de personic environment en la canción popular grabada (Moore, 2012). Por otro lado, sirviéndonos del modelo de análisis desde la transfonografía propuesto por Lacasse (2018), se atiende a la construcción, en torno al álbum A duras penas, de filiaciones identitarias de tipo cultural, social y político con otras latitudes y géneros musicales, tales como el rock o la nueva canción chilena. Este artículo, que otorga centralidad al componente sonoro grabado en su resignificación del texto cantado, tiene como fin último profundizar en las estrategias musicales de la canción grabada como parte de un proceso comunicativo del cantautor en relación con las dinámicas sociales, culturales y políticas de la Andalucía de la Transición, marcadas por la emigración, la pobreza, el subdesarrollo estructural y las reivindicaciones autonómicas.

“Ó! Rigor duro da Lei”: A miséria e a paixão do Padre José Maurício Nunes Garcia (1767-1830)

A fatalidade da pobreza e do martírio é um pressuposto básico às narrativas do “grande compositor”. Ilustrativo é o caso do mestre de capela afro-brasileiro Padre José Maurício Nunes Garcia (1767-1830). Os estudiosos insistem que José Maurício morreu em extrema pobreza, vítima de intrigas palacianas e rivalidades profissionais. Neste trabalho, argumentamos que, embora seja certo que o compositor enfrentou dificuldades financeiras durante a maior parte de sua vida, a causa fundamental não resultou de suas circunstâncias profissionais, mas antes de sua situação familiar. Sacerdote católico ordenado, é notório que teve ao menos seis filhos, com uma ou mais concubinas. Ao avaliar suas múltiplas fontes de renda e ao examinar as implicações financeiras e legais de sua situação concubinária, o presente trabalho vem contestar o conhecimento convencional acerca dos problemas econômicos do compositor.

Silvio Martínez: Una mirada a la música andina colombiana desde el Cuarteto de Guitarras

El presente artículo analiza la forma en la que el compositor colombiano Silvio Martínez utiliza el formato de Cuarteto de guitarras en sus cuatro piezas para este formato: Para Jova; Para Horacio, Serenata Campesina y Luz Mary, sentando un precedente en la música andina colombiana vista desde un formato con una tradición relativamente joven y explorando a profundidad las posibilidades instrumentales del conjunto. Busca establecer los roles que el compositor asigna a cada una de las guitarras a lo largo de las 4 piezas, concentrándose en la utilización del ritmo como un elemento que diferencia, une, refuerza o responde a cada una de las ideas musicales que se expresan dentro de un contexto sonoro que mantiene una sonoridad armónica y melódica dentro de la tradición de la música de la zona andina colombiana.

"Los vivas eran oídos a lo lejos entre el estruendo de las bandas militares": The Promotion of Music during the Second Mexican Empire

This article aims to analyze the cultural “structures and practices” that Mexico inherited from the Second Mexican Empire, particularly in the field of arts and music, trying to be a counterbalance to the black legend that weighs on this stage of our history. My proposal is that many of the ideas brought to the country by the emperor —the Habsburg-Lorena Archduke Ferdinand Maximilian— are still in use today.

Before Their Music Stopped: Manila’s Spanish Military Regimental Bands at the End of the 19th Century

Utilizing the contemporary daily, Spanish-language newspapers surviving from the final three decades of 19th–century Manila, this study investigates the extensive activities of the eight regimental bands stationed in Manila, the Philippines. Even though these dailies served as powerful tools for the imposition of colonial subjugation and disenfranchisement on the indigenous Filipino population, they also reveal that the regimental bands were the most active musical ensembles during that era. This review of the papers began by chronicling the frequency of the many free, weekly, outdoor concerts that total more than 2,700 performances.  A related goal was to identify as many of the musical pieces presented in band arrangements during these performances. The newspapers also published additional valuable articles that discuss a variety of unique or unusual events involving the regimental band’s contributions to major military maneuvers, special occasions of state in honor of the Royal Family, and a set of seven concerts performed on consecutive days by one band during a major, religious feast.

The dailies also permit us to follow the work of the bands during a period of crisis and some danger. From August 1896 to December 1897, the Spanish Military was engaged in a war with Filipino insurrectionists fighting for independence. The Military command responded to this threat in two ways that affected the bands. The first was the creation of a new regiment of indigenous-heritage soldiers to protect the capital from invasion by their countrymen. That new regiment, The Loyal Volunteers, also had a new band attached to it. Like all the bands, this new one was made up entirely of Filipino men.  A second response affecting all of the bands was the order for the Band Masters to include in their public concerts a steady stream of newly composed works promoting the Spanish propaganda opposing the war. Though the revolt was ended with a peace treaty in late December 1897, just four months later, on 1 May, the fate of the Spanish colony was sealed when the U.S. armed forces invaded the Philippines. As the Spanish Military regiments exited the country, the work of the bands ended. A new period of brutal colonial subjugation of the Filipino people had commenced.

REVIEWS

López-Fernández, Miguel. “Vicente Ripollés Pérez (1867–1943). Volumen 1 / 2. Misas.” Estudio y edición de Miguel López-Fernández. Madrid: Consejo Superior de Investigaciones Científicas, Editorial CSIC, 2017 / 2019.

López-Fernández, Miguel. “Vicente Ripollés Pérez (1867–1943): Música en torno al Motu proprio para la catedral de Sevilla.” Volumenes 1 y 2. Estudio y edición de Miguel López-Fernández. Madrid: Consejo Superior de Investigaciones Científicas, Editorial CSIC; Barcelona: Institución Milá y Fontanals, Departamento de Ciencias Históricas: Musicología, 2017; and López-Fernández, Miguel. “Vicente Ripollés Pérez (1867–1943). Música en torno al Motu proprio para la catedral de Sevilla. Volumen 2.” Obras para el oficio divino y otras piezas sacras. Madrid: Consejo Superior de Investigaciones Científicas (CSIC); Barcelona: Institución Milá y Fontanals, Departamento de Ciencias Históricas: Musicología, 2019.