El sentido de patria en dos canciones populares peruanas del siglo XX
Archivos
Fecha
2022-12-29
Autores
Título de la revista
ISSN de la revista
Título del volumen
Editor
Universidad Nacional de Música
Resumen
El siguiente texto analiza el sentido de patria que subyace en dos canciones populares peruanas del siglo XX, el vals “Contigo Perú”, de Augusto Polo Campos (Puquio 1932-Lima 2018), y el wayno “Viva la patria”, de Carlos Falconí (La Mar 1937, Huamanga, 2022).
Si bien ambas composiciones ocupan temporalidades diferentes y fueron escritas en contextos distintos, el propósito de este artículo es afinar una mirada crítica a través del análisis discursivo sobre el paradigma de patria que construye un sector del criollismo a partir de una retórica del entusiasmo y la unidad de los peruanos en torno de un ideal de integración al Estado-nación, frente al de los músicos andinos, que no solo se sitúa lejos de esa narrativa romantizada sino que expresa frustración y amargura desde su propia experiencia social signada por la práctica de una violencia estructural e histórica en el contexto de la colonialidad, que se concentró especialmente durante el conflicto armado interno.
This article introduces to the soundscape as an interdisciplinary tool directly linked to the use of different technology that reveals the interaction of humans with the acoustic environment. The article focuses on different technologies that expand the development and study of the soundscape, in addition to presenting some considerations, such as the location recording and the technology used, which not only configures the acoustic composition of the elements that integrate, but also their potential scientific application. The context of technological progress was taken into account, which has allowed obtaining better capture strategies, as well as contrasting examples, which allow us to expand our study in the cataloging and synthesis bird calls. Different problems that should be considered during the realization of the soundscape were discussed, such as background noise and imitative bird songs, which hinder the algorithmic recognition of the bird calls found in soundscapes. This creative discipline generates works that integrate technological tools that open up possibilities in both artistic and scientific work.
This article introduces to the soundscape as an interdisciplinary tool directly linked to the use of different technology that reveals the interaction of humans with the acoustic environment. The article focuses on different technologies that expand the development and study of the soundscape, in addition to presenting some considerations, such as the location recording and the technology used, which not only configures the acoustic composition of the elements that integrate, but also their potential scientific application. The context of technological progress was taken into account, which has allowed obtaining better capture strategies, as well as contrasting examples, which allow us to expand our study in the cataloging and synthesis bird calls. Different problems that should be considered during the realization of the soundscape were discussed, such as background noise and imitative bird songs, which hinder the algorithmic recognition of the bird calls found in soundscapes. This creative discipline generates works that integrate technological tools that open up possibilities in both artistic and scientific work.
Descripción
Palabras clave
Música y Nacionalismo, Patria, Música Criolla, Canción Testimonial, Violencia
Citación
Martínez Espinoza, M. (2022). El sentido de patria en dos canciones populares peruanas del siglo XX. Antec: Revista Peruana De Investigación Musical, 6(2), 94–105. https://doi.org/10.62230/antec.v6i2.143
