Imposing Harmony: Music and Society in Colonial Cuzco, Geoffrey Baker
Автор: Geoffrey Baker Название: Imposing Harmony: Music and Society in Colonial Cuzco ISBN: 0822341603 ISBN-13(EAN): 9780822341604 Издательство: Wiley EDC Рейтинг: Цена: 3945.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание:
Imposing Harmony is a groundbreaking analysis of the role of music and musicians in the social and political life of colonial Cuzco. Challenging musicology’s cathedral-centered approach to the history of music in colonial Latin America, Geoffrey Baker demonstrates that rather than being dominated by the cathedral, Cuzco’s musical culture was remarkably decentralized. He shows that institutions such as parish churches and monasteries employed indigenous professional musicians, rivaling Cuzco Cathedral in the scale and frequency of the musical performances they staged.
Building on recent scholarship by social historians and urban musicologists and drawing on extensive archival research, Baker highlights European music as a significant vehicle for reproducing and contesting power relations in Cuzco. He examines how Andean communities embraced European music, creating an extraordinary cultural florescence, at the same time that Spanish missionaries used the music as a mechanism of colonialization and control. Uncovering a musical life of considerable and unexpected richness throughout the diocese of Cuzco, Baker describes a musical culture sustained by both Hispanic institutional patrons and the upper strata of indigenous society. Mastery of European music enabled elite Andeans to consolidate their position within the colonial social hierarchy. Indigenous professional musicians distinguished themselves by fulfilling important functions in colonial society, acting as educators, religious leaders, and mediators between the Catholic Church and indigenous communities.
Автор: Gabriela Ramos Название: Death and Conversion in the Andes: Lima and Cuzco, 1532-1670 ISBN: 0268040281 ISBN-13(EAN): 9780268040284 Издательство: Wiley EDC Рейтинг: Цена: 5146.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание:
When the Spanish invaded the Inca empire in 1532, the cult of the ancestors was an essential feature of pre-Columbian religion throughout the Andes. The dead influenced politics, protected the living, symbolized the past, and legitimized claims over the land their descendants occupied, while the living honored the presence of the dead in numerous aspects of daily life. A central purpose of the Spanish missionary endeavor was to suppress the Andean cult of the ancestors and force the indigenous people to adopt their Catholic, legal, and cultural views concerning death. In her book, Gabriela Ramos reveals the extent to which Christianizing death was essential for the conversion of the indigenous population to Catholicism.
Ramos argues that understanding the relation between death and conversion in the Andes involves not only considering the obvious attempts to destroy the cult of the dead, but also investigating a range of policies and strategies whose application demanded continuous negotiation between Spaniards and Andeans. Drawing from historical, archaeological, and anthropological research and a wealth of original archival materials, especially the last wills and testaments of indigenous Andeans, Ramos looks at the Christianization of death as it affected the lives of inhabitants of two principal cities of the Peruvian viceroyalty: Lima, the new capital founded on the Pacific coast by the Spanish, and Cuzco, the old capital of the Incas in the Andean highlands. Her study of the wills in particular demonstrates the strategies that Andeans devised to submit to Spanish law and Christian doctrine, preserve bonds of kinship, and cement their place in colonial society.
In Creating Our Own, anthropologist Zoila S. Mendoza explores the early-twentieth-century development of the “folkloric arts”—particularly music, dance, and drama—in Cuzco, Peru, revealing the central role that these expressive practices played in shaping ethnic and regional identities. Mendoza argues that the folkloric productions emerging in Cuzco in the early twentieth century were integral to, rather than only a reflection of, the social and political processes underlying the development of the indigenismo movement. By demonstrating how Cuzco’s folklore emerged from complex interactions between artists and intellectuals of different social classes, she challenges the idea that indigenismo was a project of the elites.
Mendoza draws on early-twentieth-century newspapers and other archival documents as well as interviews with key artistic and intellectual figures and their descendants. She offers vivid descriptions of the Peruvian Mission of Incaic Art, a tour undertaken by a group of artists from Cuzco, at their own expense, to represent Peru to Bolivia, Argentina, and Uruguay in 1923–24, as well as of the origins in the 1920s of the Qosqo Center of Native Art, the first cultural institution dedicated to regional and national folkloric art. She highlights other landmarks, including both The Charango Hour, a radio show that contributed to the broad acceptance of rural Andean music from its debut in 1937, and the rise in that same year of another major cultural institution, the American Art Institute of Cuzco. Throughout, she emphasizes the intricate local, regional, national, and international pressures that combined to produce folkloric art, especially the growing importance of national and international tourism in Cuzco.
Please visit the Web site http://nas.ucdavis.edu/creatingbook for samples of the images and music discussed in this book.
Автор: Gunter Berghaus, Oleh S. Ilnytzkyj, Gabriella Elina Imposti, Christina Lodder Название: 2019 ISBN: 3110644711 ISBN-13(EAN): 9783110644715 Издательство: Walter de Gruyter Цена: 24165.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: The Futurist art movement, founded by F.T. Marinetti in 1909, had a worldwide impact and made important contributions to avant-garde movements in many countries and artistic genres. This yearbook is designed to act as a medium of communication amongst a global community of Futurism scholars. It has an interdisciplinary orientation and presents new research on Futurism across national borders in fields such as literature, fine arts, music, theatre, design, etc. Apart from essays and country surveys it contains reports, reviews and an annual bibliography of recent Futurism studies. Vol. 1 (2011): Special Issue, Futurism in Eastern and Central Europe Vol. 2 (2012): Open Issue Vol. 3 (2013): Special Issue, Iberian Futurism Vol. 4 (2014): Open Issue Vol. 5 (2015): Special Issue, Women Futurists Vol. 6 (2016): Open Issue For Vol. 1-3 please see also: http://www.degruyter.com/view/j/futur
In Creating Our Own, anthropologist Zoila S. Mendoza explores the early-twentieth-century development of the “folkloric arts”—particularly music, dance, and drama—in Cuzco, Peru, revealing the central role that these expressive practices played in shaping ethnic and regional identities. Mendoza argues that the folkloric productions emerging in Cuzco in the early twentieth century were integral to, rather than only a reflection of, the social and political processes underlying the development of the indigenismo movement. By demonstrating how Cuzco’s folklore emerged from complex interactions between artists and intellectuals of different social classes, she challenges the idea that indigenismo was a project of the elites.
Mendoza draws on early-twentieth-century newspapers and other archival documents as well as interviews with key artistic and intellectual figures and their descendants. She offers vivid descriptions of the Peruvian Mission of Incaic Art, a tour undertaken by a group of artists from Cuzco, at their own expense, to represent Peru to Bolivia, Argentina, and Uruguay in 1923–24, as well as of the origins in the 1920s of the Qosqo Center of Native Art, the first cultural institution dedicated to regional and national folkloric art. She highlights other landmarks, including both The Charango Hour, a radio show that contributed to the broad acceptance of rural Andean music from its debut in 1937, and the rise in that same year of another major cultural institution, the American Art Institute of Cuzco. Throughout, she emphasizes the intricate local, regional, national, and international pressures that combined to produce folkloric art, especially the growing importance of national and international tourism in Cuzco.
Please visit the Web site http://nas.ucdavis.edu/creatingbook for samples of the images and music discussed in this book.
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