| Description |
1 online resource (xviii, 408 pages) |
| Contents |
Cover -- Half Title -- Title Page -- Copyright Page -- Dedication -- Table of Contents -- About the Authors -- Acknowledgments -- Chapter 1: Music and Identity in Venezuela: An Introduction -- Music and Bonding -- Music as Window into Identity: The Case of Venezuela -- Mestizaje, Syncretism, and Other Foundational Myths -- Florentino as Archetype -- National Identity and Its Pitfalls -- Chapter 2: Simón Díaz and the Tonada Llanera: The Forging of a Referent for Modern Venezuelan Identity -- Milking and Herding Chants as Foundation for the Tonada -- Of Coplas and Tonadas -- Simón's Tonada |
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Rhythmic Freedom -- Idiomatic Melodic Turns -- Performative Elements -- Harmonic Language -- Language and Subject Matter -- Accompaniment -- From Barbacoa to Every Household -- Epilogue: The Waning of the Tonada? -- Chapter 3: Relocating the Nativity in Song and Celebration -- Recreations, Reenactments, and Performative Celebrations -- Other Contexts for the Aguinaldo -- The Aguinaldo as Musical Genre -- Chapter 4: Corpus Christi Reinterpreted: Power Dynamics and African Diaspora in Venezuela's Dancing Devils -- Corpus Christi in Late Medieval and Early Modern Spain |
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Corpus Christi and Its Political Associations -- Corpus Christi in the New World -- Tracing African Traditions in Corpus Christi -- Corpus Christi in Venezuela -- Vestiges of an African Diaspora -- Dancing Devils of Corpus Christi -- Masks -- Chapter 5: To the Beat of African Drums: Afro-Venezuelan Music and Identity through Betsayda Machado and La Parranda El Clavo -- Drumming Afro-Venezuelan Cultural Identity -- Blanqueamiento and De-Africanization of Culture -- El Clavo: From the Small Town Comes the Big Drum Voice -- Lo Afro and Las Parrandas |
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Chapter 6: Indigenous Identitary Resistance in Twentieth/Twenty-First-Century Venezuela: Pumé and Wayuu Musical Cultures -- Pumé Musical Practices within a Christian Context in Las Piedras (Apure) (J. D. Porrello) -- Geographic Location and Ethnographic Data -- Ethnohistorical Background -- Pumé Ceremonial Music -- Evangelization of the Las Piedras Community -- Musical Context of the Community of Las Piedras -- Music Practices for Courting and Herding and the Wayuu (Guajira) Cultural Festivals (K. Lengwinat) -- Demographic, Geographic, and Economic Conditions -- Previous Research |
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Wayuu Social Organization and Cultural Negotiation -- Music for Courting and Herding -- Conclusion -- Chapter 7: Patriotic "Glosses": Generic Mutations, Appropriation, and Identity in the Venezuelan National Anthem -- The Problem of Genre in the VNA -- VNA and Its "Written Performance" -- From "Written Performance" to Live Performance -- The Battle for the Anthem -- Chapter 8: Intellectual Thought Behind Venezuelan Musical Nationalism: Ideas, Values, Beliefs -- Nationalist Thought -- The "Luminous Wing" -- Briceño Iragorry: Destination for a Message -- Acción Democrática |
| Summary |
Venezuelan music has remained largely unnoticed in the academic English literature. Boasting a tremendous wealth of traditions, it displays influences from the Spanish, indigenous, and enslaved African communities that populated the territory from the conquest on and offers a tremendous diversity of genres and styles that vary by region, occasion, time, and sometimes ethnic influences. This book presents critical discussions of some of these traditions in connection with the issue of identity. The discussions capture country and city life, illustrate foundational myths, bring secular traditions closer to Christianity, explore surviving cultural strategies, et cetera. They also analyze the interface between Venezuelan identity and European classical music. The book displays diversity of perspectives in terms of (a) subject matter, as it includes traditional and concert musics; (b) disciplines on which the inquiries are grounded, as it includes essays by scholars and artists from musicology, performance, composition, history, cultural history, and education; and (c) epistemological approaches, as it includes critical, historical, and ethnographic research |
| Bibliography |
Includes bibliographical references and index |
| Notes |
Adriana Ponce is an associate professor at Illinois Wesleyan University, USA. She holds a PhD in musicology from Brandeis University, USA. Her research interests revolve around questions of form in 19th-century art music and Venezuelan traditional musics. She has presented at numerous conferences of the American Musicological Society and the Society for Music Theory (USA); the Society of Music Analysis and the Royal Musical Association (UK); the Fryderyk Chopin Institute (Poland); and similar societies in Belgium and the Netherlands. She was also invited to deliver a guest lecture in the Carrigan Music Theory Lecture Series at the University of Michigan, Ann Arbor, USA. Her publications include "Memory and Non-linear, End-Oriented Coherence in Chopin's Nocturnes"; "Form, Diversity and Lack of Fulfillment in Schumann's Fantasie Op. 17; and Sounds Around Us, Vol. 1-5 (a theory, solfege, and musicianship method developed for the Edward Said National Conservatory in collaborations with Habib Shehadeh and Hania Souddah-Sabara) |
| Subject |
Music -- Social aspects -- Venezuela
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MUSIC / General
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| Form |
Electronic book
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| Author |
Ponce, Adriana, editor.
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| ISBN |
9781040002216 |
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1040002218 |
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