ABSTRACT This article presents a panoramic and introductory view of the studies around twelve-tone music and serialism at an international and Latin American level, showing that these terms are not clearly delimited, but are linked to different conceptual and aesthetic approaches, giving rise to various compositional practices, which will be reflected in the articles in this issue of Neuma. After commenting on some aspects of the development of dodecaphony and serialism in Europe and Latin America, we take as an example the Chilean case and specifically some works by the composer Gustavo Becerra-Schmidt (1925-2010), demonstrating how the notions of twelve-tone music and serialism have interacted with different conceptual approaches, leading to compositional strategies that must be differentiated in each particular case, even within the work of one same creator.

RESUMEN El presente artículo presenta una visión panorámica e introductoria de los estudios en torno a la dodecafonía y el serialismo a nivel internacional y latinoamericano, poniendo de manifiesto que estos términos no están claramente delimitados, sino que se vinculan con diferentes aproximaciones conceptuales y estéticas, dando lugar a diversas prácticas compositivas, lo que se verá reflejado en los artículos del presente número de Neuma. Luego de comentar algunos aspectos del desarrollo de la dodecafonía y el serialismo a nivel europeo y latinoamericano, tomamos como ejemplo el caso chileno y específicamente algunas obras del compositor Gustavo Becerra-Schmidt (1925-2010), demostrando a partir de este cómo en torno a las nociones de dodecafonía y serialismo han operado diferentes aproximaciones conceptuales que desembocan a su vez en estrategias compositivas que deben ser diferenciadas en cada caso en particular, incluso al interior de la obra de un mismo creador.

According to several documents preserved in the Fondo Pablo Garrido –Research and Documentation Center, University of Chile–, we herein present a contextual analysis of the critique and research texts on folklore by Chilean musician and musicologist Pablo Garrido Vargas, and of the respective approaches and actions that he undertook in the cultural policies field, from the year 1928 –the beginning of his career as a journalist– to 1944 –when he joined the Dirección General de Información y Cultura, at the Chilean Ministry of Interior. This article tracks down the notion of “social function” that Garrido applied to musical folklore, for which we have approached his initial career as a music critic and cultural journalist, researcher and scholar, musician –composer and performer–, agent, union leader, and sympathizer for the Frente Popular. It is of particular interest, in this sense, his conflicted relation with the musical establishment embodied by the Universidad de Chile –regarding which we propose a hypothesis about the upbringing of folklore under its wing–; a general outline of his political, social and aesthetic positions, and a brief exposition of the Afrocentrist thesis he devised on the origins of the Chilean cueca.

Sobre la base de diversos documentos resguardados por el Fondo Pablo Garrido –Centro de Documentación e Investigación Musical, Universidad de Chile–, ofrecemos un análisis contextual de los textos críticos e investigativos acerca de folclor del músico y musicólogo chileno Pablo Garrido Vargas y de sus respectivos planteamientos y acciones, en el plano político-cultural, entre 1928 –el comienzo de su carrera periodística– y 1944 –cuando ingresó a la Dirección General de Información y Cultura, Ministerio del Interior de Chile–. Este artículo rastrea la noción de “función social” que Garrido aplicó al folclor musical, para ello abordamos su trayectoria inicial como crítico musical y periodista cultural, investigador y académico, músico –compositor e intérprete–, gestor, dirigente sindical y simpatizante del Frente Popular. Particularmente relevante nos parece una lectura de su conflictiva relación con la oficialidad musical de la Universidad de Chile –a cuyo propósito planteamos una hipótesis acerca del desarrollo del folclor a su alero–; una reseña general de sus posiciones política, social y estética y la exposición somera de la tesis afrocéntrica que elaboró en torno al origen de la cueca chilena.

RÉSUMÉ Danse et Musique comme Pratiques Intégrées dans les Performances Afro-brésiliennes: une étude technoculturelle – Cet article aborde la relation entre la danse et la musique au moyen d’une expérience technoculturelle qui utilise des éléments performatifs du Bumba Meu Boi du Maranhão. La recherche associe la technologie à discussions dans les domaines de la musicologie, de l'anthropologie, des arts du spectacle et des paroles des artistes populaires qui vivent dans les communautés traditionnelles. L'étude a pour but décrire et comprendre comment les performances culturelles afro-brésiliennes réunissent les phénomènes de multimodalité, de multi-coordination et de voisinage comme facteurs indispensables à la construction d'un savoir corporel, intégré et complexe, indiquant l'indissociabilité entre le corps, la danse et la musique. Afrobrésiliennes Afro brésiliennes Afro-brésiliennes dune d Maranhão musicologie lanthropologie, lanthropologie l anthropologie, anthropologie l'anthropologie traditionnelles Létude L afrobrésiliennes afro multimodalité multicoordination multi coordination dun un corporel complexe lindissociabilité indissociabilité corps

ABSTRACT Dance and Music as Integrated Practices in Afro-Brazilian Performances: a technocultural study – This paper discusses the relationship between dance and music from a technocultural experiment about performative aspects of Bumba Meu Boi of Maranhão. The research mixes research mediated by technology and theoretical discussions on Musicology, Anthropology, Performing Arts as well as testimonials of masters from traditional communities. The study aims to describe and reflect on how Afro-Brazilian cultural performances entangle the phenomena of multimodality, multi-coordination and neighborhood as indispensable factors to conceive an integrated and complex embodied knowledge, indicating inseparability between body, dance and music. AfroBrazilian Afro Brazilian Performances Maranhão Musicology Anthropology communities multimodality multicoordination multi coordination knowledge body

RESUMO Dança e Música como Práticas Integradas em Performances Afro-Brasileiras: um estudo tecnocultural – Este artigo aborda a relação entre dança e música a partir de um experimento tecnocultural que faz uso de elementos performativos do Bumba Meu Boi maranhense. A pesquisa cruza uma investigação mediada por tecnologia a discussões advindas dos campos da Musicologia, da Antropologia, das Artes Cênicas e de palavras de mestres de comunidades tradicionais. Busca-se descrever e compreender como performances culturais afro-brasileiras congregam fenômenos de multimodalidade, multicoordenação e vizinhança como fatores indispensáveis na construção de um saber corporificado, integrado e complexo, indicando inseparabilidade entre corpo, dança e música. AfroBrasileiras Afro Brasileiras Afro-Brasileiras maranhense Musicologia Antropologia tradicionais Buscase Busca se afrobrasileiras afro brasileiras multimodalidade corporificado complexo corpo

Se analizan fuentes escritas acerca de prácticas musicales y sonoras ocurridas en las Islas Malvinas durante el período 1828-1833. La hipótesis que guía a este estudio es que el pueblo que creó el comandante Luis Vernet en Puerto Luis, cercana al centenar de habitantes, fue un microcosmos sociocultural de Buenos Aires, de donde dependía. Los testimonios indican que incluía gauchos, indígenas, africanos e inmigrantes europeos, quienes interactuaron con prácticas musicales y sonoras. Pese al avance de la musicología argentina, este territorio no ha sido tratado, por lo que lo analizado contribuye a completar nuestro mapa sonoro.

The written sources of musical and sound practices that took place on the Malvinas Islands during the period 1828-1833 are analyzed. The hypothesis that guides this study is that the town that commander Luis Vernet created in Puerto Luis, with nearly a hundred inhabitants, represented a sociocultural microcosm of Buenos Aires, on which it depended. The testimonies indicate that it included gauchos, indigenous people, afros and european immigrants, who interacted with musical and aural practices. Despite the advance in Argentine musicology, this territory has not received attention, so what is analyzed here contributes to completing our sound map.

Abstract: Baltasar Samper, composer and researcher of folk music, and native of Catalonia, arrived in Mexico in 1942, together with the pianist and companion Dolors Porta as part of the Spanish exile. His stay in Mexico, plagued with inconveniences, allowed him to create a professional research model of folk music for the recently founded Section of Musical Research of the National Institute of Fine Arts (INBA, by its acronym in Spanish), as a result of his earlier work in Barcelona for the project l’Obra del Cançoner Popular de Catalunya. Based on his papers housed by the archives of National Center for Research, Documentation and Dissemination of Music (CENIDIM, for its Spanish acronym) and other sources, this paper presents his experiences in Mexico, which given the circumstances proved rather frustrating. Samper has been largely ignored both in musicology at large and in the literature on the Spanish exile in Mexico.

Resumen: Baltasar Samper fue un compositor e investigador de música folclórica de origen catalán que arribó a México, junto con la pianista y su compañera Dolors Porta, en 1942, como parte del exilio español. Su estancia en el país, aunque plagada de avatares, le permitió generar un modelo profesional de investigación de la música folclórica, en la recién fundada Sección de Investigaciones Musicales del Instituto Nacional de Bellas Artes (INBA), gracias a su experiencia previa en Barcelona dentro del proyecto de l’Obra del Cançoner Popular de Catalunya. Este artículo reconstruye su más bien frustrante experiencia en México dadas las condiciones prevalecientes, basado en sus papeles de trabajo depositados en el archivo del Centro Nacional de Investigación, Documentación e Información Musical (CENIDIM). La figura de Samper ha sido hasta ahora ignorada tanto por la musicología en general, como por la literatura sobre el exilio español en nuestro país.

Resumen La labor de los actuales integrantes del Cuerpo Académico Consolidado [CAC] “Musicología” ha impulsado, a nivel nacional e internacional, al área musical-musicológica del doctorado en Artes de la Universidad de Guanajuato. Entre 2014 y 2021, logró la titulación de 13 doctores (originarios de España, Italia, México y Rusia), quienes, posteriormente, se han distinguido en el país por sus logros académicos (reconocimiento del perfil del Programa para el Desarrollo Profesional Docente [PRODEP] e ingreso al Sistema Nacional de Investigadores [SNI]) y laborales (contratación como profesor en universidades públicas). En este artículo se describen las investigaciones realizadas en las disertaciones doctorales y se enlistan las publicaciones derivadas (libros, capítulos de libros, artículos arbitrados e indexados, discos de audio), a través de lo cual se comprueba la formación en México de recursos humanos altamente especializados, así como la creación y coordinación de un sólido grupo de trabajo en el área de la musicología.

Abstract The labour of the current members of the “Musicology” Consolidated Research Group has promoted, nationally and internationally, the musical-musicological area of the Ph.D. in Arts of the University of Guanajuato. This has led, between 2014 and 2021, to the qualification of thirteen doctors from Spain, Italy, Mexico, and Russia. Subsequently, they have been distinguished in the country for their academic accomplishments (recognition of the PRODEP profile and admission to the SNI) and work outcomes (employment as professors at public universities). This article describes the research carried out in the doctoral dissertations, listing the resulting publications (books, book chapters, refereed and indexed articles, and audio CDs), and showing the training in Mexico of highly specialized human resources, as well as the creation and coordination of a solid working group in the area of musicology.

Resumo O trabalho dos atuais membros do Corpo Acadêmico Consolidado [CAC] “Musicologia” tem promovido, em nível nacional e internacional, a área musical-musicológica do doutorado em Artes da Universidade de Guanajuato. Entre 2014 e 2021, obteve o título de 13 doutores (originários da Espanha, Itália, México e Rússia), que posteriormente se destacaram no país por suas realizações acadêmicas (reconhecimento do perfil do Programa de Desenvolvimento Profissional Docente [PRODEP] e ingresso no Sistema Nacional de Pesquisadores [SNI]) e trabalhista (contratação como professor em universidades públicas). Este artigo descreve a pesquisa realizada nas dissertações de doutorado e lista as publicações derivadas (livros, capítulos de livros, artigos referenciados e indexados, discos de áudio), através das quais se verifica a formação no México de recursos humanos altamente qualificados, a criação e coordenação de um sólido grupo de trabalho na área da musicologia.

Resumen En este estudio se analiza el desarrollo de las características estilísticas de ejecución del saxofón en el merengue adquiridas en Costa Rica a partir de 1990. Se realiza una revisión de documentos y entrevistas para contextualizar y analizar la inserción del merengue en la escena musical y los estudios de grabación costarricense. Se concluye que las características de estilo del saxofón en este género son determinadas por influencias del jazz, solución de deficiencias acústicas y eventos políticos.

Abstract This study analyzes the development of the stylistic performance characteristics of the saxophone in the merengue, acquired in Costa Rica since 1990. A documentary review and interviews are carried out to contextualize and analyze the insertion of the merengue in the music scene and the studies of Costa Rican recording. It is concluded that the style characteristics of the saxophone in this genre are determined by jazz influences, solving acoustic deficiencies and political events.

Absract: The link between music and politics during the consecration of the Puebla Cathedral on April 18, 1649, has taken on new relevance given current debates on the role of this art in history when studied from two complementary angles. The first analyzes the careers of the primary protagonists and the roles they played in the plainsong ceremony that inaugurated the consecration rite, while the second examines those extraordinary and symbolic elements utilized in the process of musical composition, in this case of the mass Ego Flos Campi by Juan Gutiérrez de Padilla (15501664), the cathedral’s Kapellmeister. Through an emphasis on how sound articulates situations of ceremonial and political performativity - such as the words of a liturgical text - this analysis traces the connections between music, painting, the configuration of the cathedral chapter and political changes under King Philip IV. Fortunately, current musicology no longer argues that the greatest works should overcome the social and economic factors that surround them and artistic creation is considered to be a point of intersection between these and other, complementary parameters. All too often, however, musical composition is described as a result and not an agent. This article takes the perspective that both musical creation and execution can promote specific political content.

Resumen: El vínculo entre música y política durante la celebración de la consagración de la Catedral de Puebla, el 18 de abril de 1649, cobra vigencia y alimenta los actuales debates sobre el papel de este arte en la historia cuando se estudia desde dos ángulos complementarios. El primero, analiza las trayectorias de los principales protagonistas y las funciones que asumieron en la ceremonia ejecutada en canto llano que dio inicio al rito de consagración. El segundo, pondera elementos extraordinarios y simbólicos utilizados en el proceso de composición musical, en este caso, en la misa Ego Flos Campi de Juan Gutiérrez de Padilla (15501664), maestro de capilla de la catedral angelopolitana. A partir del énfasis que la articulación del sonido otorga a situaciones de performatividad ceremonial y política -así como a determinadas palabras del texto litúrgico-, el análisis de evidencias traza vínculos entre música, pintura, conformación del cabildo catedralicio, conflictos políticos y cambios en la dirección de la monarquía de Felipe IV. Afortunadamente la musicología actual ya no sostiene que las mejores obras deben rebasar los factores sociales y económicos que las rodean; hoy la creación artística en general se considera un punto de intersección entre éstos y otros parámetros complementarios. Sin embargo, con demasiada frecuencia, la composición musical se describe como resultado y no como agente. El artículo respalda una perspectiva diferente al enfatizar que ambas, la creación y la ejecución musical, pueden promover contenidos específicos de orden político.

Abstract: The concert held by the Mexican Philharmonic Society on October 1, 1867, was attended by Benito Juárez and, among many other pieces, included the premiere of the symphonyhymn Dios salve a la patria by Melesio Morales (18381908). This article describes the interesting technical details of this extraordinary piece, situating it in the broader context of the political struggles of the conservative members of the Philharmonic Society during the early years of the Restored Republic. The evening’s full program has been reconstructed in order to read, through the opera selections performed, the social and political discourse that the Philharmonic Society wished to give Juárez, with the goal of obtaining a critical subsidy and a building for its conservatory.

Resumen: El concierto que la Sociedad Filarmónica Mexicana celebró el 1º de octubre de 1867 contó con la presencia de Benito Juárez y tuvo, entre muchas otras obras, el estreno de la sinfoníahimno Dios salve a la patria de Melesio Morales (18381908). El trabajo describe los interesantes pormenores técnicos de esta pieza extraordinaria y la sitúa en el más amplio entorno de las pugnas políticas que los miembros conservadores de la Sociedad Filarmónica enfrentaban durante las horas tempranas de la República Restaurada. En especial, se ha reconstruido el programa completo de la velada para leer, detrás de las piezas de ópera seleccionadas, el discurso social y político que la Sociedad Filarmónica quiso dar a entender a Juárez con el propósito de obtener del nuevo gobierno una crucial subvención pública y un edificio para su conservatorio de música.

Resumo O artigo propõese estudar a relação entre a música e as figuras da mulher representadas no filme Safo, história de uma paixão dirigida por Carlos Hugo Christensen. O diretor inaugura uma mudança na cinematografía da época ao introduzir no início da década do '40 temáticas audaciosos como o erotismo, as paixões turbulentas, o suicídio, as traições ou o divórcio. O encarregado da música é George Andreani, um compositor nascido em Varsovia em 1901 formado musicalmente em Berlim, Viena e Praga, e que dantes de chegar à Argentina fugindo do nazismo, já tinha composto numerosas bandas musicais e recebido prêmios em Checoslovaquia e França. A partir do filme O inglês dos güesos (1940), Christensen e Andreani formam um tándem estreito entre diretor e compositor, como fica evidenciado nos mais de vinte títulos nos que trabalham juntos. A coesão composicional da música está baseada fundamentalmente no uso do leitmotiv de impronta wagneriana que se apresenta associado às personagens de Selva, a femme fatal, Irene a adolescente ingénua e Teresa, a tia santa. Em forma paralela à construção musical das personagens, a banda musical aderese ao arco dramático sublinhando os climas e emoções. Andreani maneja a orquestração com perícia através de um uso rico e contrastante da paleta tímbrica, explodindo os recursos das linguagens romântico e pós-romântico. A personagem de Selva (a femme fatal) interpretado por Mecha Ortiz está sócio leitmotívicamente a um vals lento e pastoso, trabalhado com ritmos apuntillados e com a melodia a cargo das cordas, tocada com portamentos connotando a sensualidade e densidade desta mulher experimentada. É o motivo mais desenvolvido ao longo do filme e o que sofre as maiores transformações. Sua progressiva ruptura e fragmentação construída mediante contrastes de registro, orquestração e ritmos, gera a variedade de climas conforme a trama se tensiona. Em contraste, o motivo musical de Irene (a ingênua) interpretado por Mirtha Legrand é elegante e brilhante, sócio ao tópico musical do minuet. A trilha corrente apresenta um terceiro motivo, associado a Teresa (a tia do protagonista) construído em base ao tópico da “manhã”, de carácter pastoral e bucólico não só representa à personagem senão também ao espaço rural idílico e católico. Uma das descobertas do trabalho é a relação entre os estereótipos de mulher que apare-cem nos filmes e seu trascendencia para além da tela na vida das actrizes, questão que se verifica na representação das estrelas do cinema nas revistas da época de maneira análoga às figuras que representam nos filmes, tanto nas fotografias como os textos e entrevistas. O artigo leva a abordagem no enfoque teórico à teoria de gênero, em particular, aos aplicativos desta perspectiva para estudar o cinema e a música, como o trabalho pioneiro de Laura Mulvey para o cinema clássico (Mulvey, 2001), o livro germinal de Susan McClary que aborda a música desde uma musicología feminista (McClary, 2002) e os enfoques mais recentes de Pilar Ramos López (Ramos López, 2003) e Laura Viñuela (Viñuela Suárez, 2003). Para a abordagem da análise musical consideramos à Teoria Tópica, (Ratner, 1980) que permite desvendar a construção do sentido musical através dos tópicos como unidades discursivas que cobram sentido num contexto sociocultural. Metodologicamente, fizemos um cruzamento entre as ferramentas da análise musical com a análise de filmes cruzados com o marco teórico proposto e complementado com fontes documentais como entrevistas e artigos de imprensa da época.

Abstract The article aims to study the relationship between music and the figures of women represented in the film Sapho, a passion story directed by Carlos Hugo Christensen. The director inaugurated a change in the cinematography of that time by introducing at the beginning of the 40s audacious subjects such as eroticism, turbulent passions, suicide, betrayals or divorce. The music was commanded to George Andreani, a composer born in Warsaw in 1901 who is formed musically in Berlin, Vienna, and Prague, and who before arriving in Argentina fleeing from Nazism, had already composed numerous soundtracks, and received awards in Czechoslovakia and France. From the film El inglés de los güesos (1940), Christensen and Andreani formed a close tandem between director and composer, as evidenced by the more than twenty titles in which they worked together. The compositional cohesion of the music is based fundamentally on the use of the leit-motif of a Wagnerian imprint that is associated with the characters of Selva, the femme fatal, Irene the naive adolescent and Teresa, the puritanical aunt. Parallel to the musical construction of the characters, the musical soundtrack adheres to the dramatic arc under-lining the moods and emotions. Andreani handles orchestration with expertise through a rich and contrasting use of the timbral palette, exploiting the resources of Romantic and Post-romantic languages. The character of Selva (the femme fatal) played by Mecha Ortiz is leitmotivistically associated with a slow and pasty waltz, worked with dotted rhythms and with the tune played by the strings, with portamentos connoting the sensuality and density of this experienced woman. It is the most developed musical motif throughout the film and the one that suffers the greatest transformations. Its progressive rupture and fragmentation built by contrasts of register, orchestration, and rhythms generate the variety of moods as the plot is stressed. As a contrast, the musical motif of Irene (the naive) played by Mirtha Legrand is elegant and brilliant, associated with the musical topic of the minuet. The soundtrack presents a third motif, associated with Teresa (the protagonist's aunt) built on the topic of "the morning”, a pastoral and bucolic style that not only represents the character but also the idyllic and Catholic rural space. One of the findings of the work is the relationship between the stereotypes of women that appear in the films and their transcendence beyond the screen in the lives of the actresses. This issue is verified in the representation of movie stars in the magazines of the time analogously to the figures they represent in the films, both in the photographs as well as in the texts and interviews. The article takes as a theoretical approach to gender theory, in particular, to the applications of this perspective to study film and music, such as the pioneering work of Laura Mulvey for classical cinema (Mulvey, 2001), the germinal book of Susan McClary, who approaches music from a feminist musicology (McClary, 2002) and the most recent approaches by Pilar Ramos López (Ramos López, 2003) and Laura Viñuela (Viñuela Suárez, 2003). For the approach of musical analysis, we consider the Topical Theory, (Ratner, 1980) that allows unraveling the construction of the musical sense through the topics as discursive units that make sense in a sociocultural context. Methodologically, we made a cross between the tools of musical analysis with film analysis crossed with the proposed theoretical framework and supplemented with documentary sources such as interviews and press articles of the time.

resumen está disponible en el texto completo

The main goal of this article is to demonstrate the canonical character acquired by the "chingana" as an object of academic study in the historiography of Chilean music and musicology in recent decades. I aim to highlight the work carried out by a group of historians of culture and mentalities on the popular culture of Santiago of the 19th century, but also to the call the attention about other spaces -similar to chingana- not included in history due to the lack of integration of a relational space theory. The text is organized in four parts. First, I explain the consolidation of the chingana as an object of academic study. In the second, I analyze the way in which this place has become a musical and historical canon and the reasons that could explain this phenomenon (information in archives, legal control and taxation, and the absence of theories of space). In the third part, I offer preliminary ideas about which places would be postponed by historiography and musicology, installing some concepts that may be useful to examine the spatial dimension of culture, such as "place" and "sense of place". In the conclusions I synthesize some of the main ideas and establish the need to avoid a "monospatialized hermeneutics" of place in the study of public entertainment. For this I propose the analysis of entertainment spaces understood as "circuits of culture" and not as isolated territories of communicative expression and art.

El objeto de este texto es demostrar el carácter canónico adquirido por la chingana como objeto de estudio académico en la his toriografía de la música y la musicología chilena de las últimas décadas. Mi interés es, por un lado, destacar el trabajo realizado por un conjunto de historiadores/as de la cultura y las mentalidades acerca de la cultura popular santiaguina del siglo XIX, y, por otro, reparar en la poca atención que estos han prestado a otros espacios de características similares a la chingana, posiblemente debido a la falta de integración de una teoría del espacio relacional. El texto está organizado en cuatro partes. En la primera explico la consolidación de la chingana como objeto de estudio académico. En la segunda analizo el modo en que esta se ha convertido en canon histórico musical y las razones que podrían explicar este fenómeno (abundante información en archivos, necesidad de control legal y gravamen y la ausencia de teorías del espacio). En la tercera parte ofrezco reflexiones exploratorias acerca de cuáles serían los lugares postergados por la historiografía y la musicología, instalando algunos conceptos que pueden ser útiles para examinar la dimensión espacial de la cultura, como "lugar" y "sentido de lugar". La última parte del artículo son las conclusiones, donde sintetizo algunas de las ideas principales y comento la necesidad de evitar una "hermenéutica monoespacializada" en el estudio de las diversiones públicas. Para ello propongo el análisis relacionado de los espacios de entretención entendidos como circuitos de cultura y no como territorios aislados de expresión comunicativa.

RESUMO Aloysio de Castro (1881-1959) é hoje lembrado como um dos maiores médicos do Brasil, bem como o pai da semiologia neurológica brasileira. Entretanto, seus interesses iam muito além dos domínios da Medicina, e ele se tornou um dos mais ilustres intelectuais de sua era. Em 1927, Castro deu uma palestra na Sociedade de Cultura Artística de São Paulo sobre Frédéric Chopin, e embarcou em uma jornada pela vida e época do compositor, discutindo o aspecto médico de sua morte, bem como suas amantes, composições e aspectos espirituais da interpretação musical. Assim, Castro reforçou os laços entre música e Medicina e ensinou lições de Musicologia que podem muito bem ser tão aplicadas à Medicina quanto a uma sala de concertos.

ABSTRACT Aloysio de Castro (1881-1959) is now remembered as one of Brazil's greatest physicians and is considered the father of Brazilian neurological semiology. However, his interests went far beyond the realm of Medicine, and he became one of the most illustrious intellectuals of his time. In 1927, he gave a speech at the São Paulo Society of Artistic Culture on Frédéric Chopin and embarked on a journey across the composer's life and times, discussing the medical issues involving his death, as well as his lovers, his compositions, and the spiritual aspects of musical interpretation. Thus, Castro reinforced the bonds of music and Medicine and provided lessons on Musicology that may very well be as suited to a hospital as they are to a concert hall.

This article explores the role of music, along with other modes of expression, in the production of emotion in three distinct religious rituals in Bogotá. The research sought to prove the theoretical concept of “worlds of sense,” within which greater correlation between the contents of different signifying languages not only produces greater emotional intensity but also delineates what behaviors are possible. To accomplish this, interviews and questionnaires were completed, the expressive material of each ritual was analyzed, and the emotional response of nine subjects was measured through physical behavior and electro-encephalographic measurements. The analysis allowed us to conclude that the ritual with less predictability and greater concordance between music and other significant elements is also the ritual in which emotions are expressed with greater intensity and the mandates of the church/mosque are followed more rigorously, while rituals with predictable structures and greater contradiction between the musical and other key elements show less emotional intensity and a lower level of obedience. However, it is impossible to establish a direct causal relationship between the expressive material and the emotional response. Towards the end of the article, other lines of inquiry are proposed to examine the potential of music to influence behavior in the context of multimodal reinforcement experiences.

Este artículo explora el papel de la música, en combinación con otros modos de expresión, en la producción de emociones en rituales de tres distintas confesiones religiosas en Bogotá. La investigación realizada buscó probar la propuesta teórica de los “mundos de sentido”, según esta, una mayor coincidencia entre los contenidos de diferentes lenguajes significantes produce mayor intensidad emocional además de delimitar las posibilidades de acción. Para ello se hicieron entrevistas y cuestionarios, se analizó el material expresivo en cada ritual y se midió la respuesta emocional de nueve sujetos mediante el comportamiento físico y medidas electroencefalográficas. El análisis permite concluir que el ritual con menor predictibilidad y mayor concordancia entre la música y otros elementos significantes es también el ritual en el que se expresan las emociones con mayor intensidad y se siguen de forma más rigurosa los mandatos de la confesión, mientras que los rituales con estructuras predecibles y mayor contradicción entre modos muestran menor intensidad emocional y un menor nivel de obediencia. Sin embargo, es imposible establecer una relación de causalidad entre el material expresivo y la respuesta emocional. Hacia el final del artículo se proponen otras líneas de indagación para examinar el potencial de la música en la orientación de la acción como parte de experiencias de refuerzo multimodal.

The poetic oeuvre of NP van Wyk Louw (1906-1970) consists of six collections of poetry, four written in South Africa between 1935 and 1942, and two while living in Amsterdam in the Fifties: Nuwe verse [New poems] (1954) and Tristia en ander verse, voorspele en vlugte 1950-1957 [Tristia and other poems, preludes and flights 1950-1957] (1962). These two collections are viewed as his late work (last poetical works, written later in his life) that concluded his oeuvre (the poet had a serious heart attack in 1961 and never recuperated fully, nor published a poetry collection again till he died in 1970, aged 61). The term "late work" is not problematised in this essay, but merely used as a marker, to differentiate it from the earlier works (as the term "Spätwerk" is used in German literary and musicology analysis and criticism). In view of the usual close reading of his work that arose from the canonised status of the oeuvre as if it were set in stone (including my own 1989 reading in Tristia in perspektief [Tristia in perspective]), this essay is a rereading, a reading in a wider context, more open to all sides, as if for the first time, against the grain of all sedimented conceptions of his work, a reading that aims to scrape off some of the verdigris of encrusted critical perspectives, as the poet referred to critical reception in his last text, Rondom eie werk [Around my own work] (1970). The jazz term "riff" is used for the rather free associative style in the essay (repeated ostinato on various topoi around a few motifs, utilising singular words or phrases). Throughout the researcher's gaze is also following what might be identified as characteristic of Louw's later style, read with a constant eye on the intense socio-political connectedness of his later work, produced while in voluntary exile in Amsterdam.A short, under-researched poem, "Die narwal" [The narwhal] (in Tristia, p.27), offers an entry into the oeuvre, tracing his late-style technique of oblique use of single words or phrases which easily escape the reader's attention.In "Die narwal" it is the word "stoottand" that stands out, as this word does not, to my knowledge, occur elsewhere in Afrikaans; Louw's singular use of the word (eschewing the familiar word "slagtand" [canine tooth]) caught the reader's attention. It is derived from German "Stoßzahn", as used by Paul Celan in "Eingedunkelt". In Afrikaans the verb "stoot" means "to push" (and combined with "tooth" connotes violence), but in vulgar usage denotes copulation. The poet points out the narwhal's main attributes as having "speckles. :/a canine tooth or a pen". The naming of the "pen" connoting a writing instrument pushes the simple little poem into the metatextual realm, as the poet identifies himself with this singular, red-listed creature. "The narwhal" is a self-portrait of the poet: he - the poet, is "speckled" (rare, sought-after, and multi-composite), but has a tusk or horn as weapon (later revealed by researchers to be a highly sensitive tacticle organ), and lives through this "pen", his writing.The attention then shifts from this poem to a highly canonised, ostensibly simple poem, "Die beiteltjie" [The small chisel], that contains the phrase "die donker naat" [the dark seam]. The Afrikaans word "naat" is similarly nuanced and connected to vulgar usage: it could simply refer to the pleat in a garment, sewn there through use of needle and thread, but the verb from which it is derived, "naai" [to sew], likewise in vulgar usage connotes copulation. Some now-disused, racist terms in Afrikaans for miscegenation of varying degrees (going back to the 1920s and 1930s) aimed to indicate the proportion of "dark blood" mixed with "white blood" in the people concerned - through terms such as "halfnaatjie" and "kwartnaatjie". Behind all these terms involving "naat" [seam] lies the tragedy of apartheid (1948-1994). The hypothesis of this essay is that "Die beiteltjie" deals directly with this "dark seam" between races after the National Party came into power in 1948, although the poem, for whatever reason, has mostly been read as an upbeat verse, illustrating the poet's ars poetica.In "Klipwerk" (in Nuwe verse), poems containing a collection of oral traditional voices from his childhood in the remote Roggeveld area near Sutherland, it seems as if the poet is also going back to the roots of the Afrikaans language, to a time when farmers and descendants of the Khoi-San were living close to one another on the farms and in the small village of Sutherland. This is reflected especially in dance, drinking and dagga songs. It is suggested that the origins of the language lie in Khoi-San and white mouths. Finally, the absence of a precise date for the genesis of the "small chisel" poem (although narrowed down to between April 1947 and October 1949 by the dating of other poems) leaves a gap, a suture, a wound (to echo Derrida on Celan's "Schibboleth"), as it suggests that the poem was conceived around the time of 4 June 1948 when the National Party came into power, after which apartheid legislation multiplied. The essay takes as its point of departure a present of being locked-down, darkened-in, the title of Celan's 1968 poem "Eingedunkelt".

NP van Wyk Louw (1906-1970) se digterlike oeuvre bestaan uit ses digbundels, vier tussen 1935 en 1942, geskryf in Suid-Afrika, en twee tydens sy verblyf in Amsterdam in die vyftigerjare, Nuwe verse (1954) en Tristia en ander verse voorspele en vlugte 1950-1957 (1962). Dié laaste twee digbundels sien ek hier as sy laatwerk (laaste werk, later in sy lewe geskryf), waarmee hy sy oeuvre afsluit (na 'n ernstige hartaanval in 1961 was hy minder gesond, en het na Tristia in 1962 - verse uit die vyftigerjare in Europa - tot met sy dood agt jaar later, nooit weer 'n digbundel gepubliseer nie). Die term "laatwerk" word nie geproblematiseer nie, slegs gebruik om te onderskei tussen sy vroeëre werk (1935-1942) en aan te dui dat dié twee bundels, hier ter sprake (1954-1962) sy digterlike oeuvre afsluit. Die term word gebruik soos in Duitse literatuurkritiek en musikologie, waar "Spätstil" (laatstyl) 'n merker is van waar werke in 'n oeuvre inpas.

ABSTRACT The search for musical identity is a constant in the debates of current Cuban musicology that is linked to the nationalist movements of the second half of the 19th century. This phenomenon was common among the former European colonies, which were debated between Eurocentrism and the rejection of the European, the oscillation between indigenous and African, which has its center of departure in the oligarchies of Latin America. The history of the Cuban Culture different stages of its development a continuity dynamic and break with its precedent. The avant-garde musical movements of the twentieth century in Cuba, pursue aesthetic purposes with the addition of Afro-Cuban elements to classical music. The treatment of the avant-garde movements in Cuba is approached from a valuation analysis of the literature related to the treatment of the avant-garde musical and its influence on the conformation of the sound panorama of the island in the first half of the twentieth century, from a perspective of expression of thought in the search for the truly national.

RESUMEN La búsqueda de la identidad musical es una constante en los debates de la musicología cubana actual que está ligada a los movimientos nacionalistas de la segunda mitad del siglo XIX. Este fenómeno fue común entre las antiguas colonias europeas, que se debatieron entre el eurocentrismo y el rechazo a lo europeo, la oscilación entre el indigenismo y lo africano, que tiene su centro de partida en las oligarquías de Latinoamérica. La historia de la Cultura Cubana diferentes etapas de su desarrollo una dinámica de continuidad y ruptura con su precedente. Los movimientos de vanguardia musical del siglo XX en Cuba, persiguen fines estéticos con la adición de elementos afrocubanos a la música clásica. Se aborda el tratamiento de los movimientos de vanguardia musical en Cuba desde un análisis valorativo de la literatura relacionada con el tratamiento de la vanguardia musical y su influencia en la conformación del panorama sonoro de la isla en la primera mitad del siglo XX, desde una perspectiva de expresión de pensamiento en la búsqueda de lo verdaderamente nacional.