Nación/Canción
This essay offers an interpretation of the ways in which the music by Liliana Herrero (1949 – present) represents the Argentinian nation. For this purpose, we initially analyze the senses of the nation which appear within this singer and philosopher’s verbal discourse, and examine them through the...
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Universidad Nacional del Litoral
2021
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| Acceso en línea: | https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/ISM/article/view/11034 |
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oai:bibliotecavirtual.unl.edu.ar:article-110342021-12-17T23:41:35Z Nación/Canción Reccitelli, Lucas This essay offers an interpretation of the ways in which the music by Liliana Herrero (1949 – present) represents the Argentinian nation. For this purpose, we initially analyze the senses of the nation which appear within this singer and philosopher’s verbal discourse, and examine them through the prism of the perspectives on the nation set out by Alejandro Grimson. Subsequently, by projecting in a metaphorical way the notion of folkmusic as metonymy of the nation over Herrero’s production, we propose the following hypothesis: by questioning, disassembling and contra–fusing («contrafusionar», a word Herrero has coined) the material of traditional folclore, Herrero questions, disassemble and brings the essentialist idea of Argentinian nation to a collision. Thus, Herrero’s production —which we periodize here— offers diverse visions about the nation within different moments. By means of the musical analysis of two of Herrero’s versions on songs of Atahualpa Yupanqui, we show the particular way in which the nation is represented within the first identified period. As an epilogue, we suggest the paths followed by the author in subsequent moments of her career. Este trabajo propone una lectura posible acerca de los modos en los que se plantea la representación de la nación en la música de Liliana Herrero (1949–actualidad). Para ello, partimos de un análisis de las concepciones relativas a la nación presentes en el discurso verbal de la misma cantora y filósofa, examinadas a través del prisma de las perspectivas sobre la nación de Alejandro Grimson. Luego, proyectando en clave metafórica la noción del folclore como metonimia de la nación sobre la producción de Herrero, proponemos la siguiente hipótesis: al interpelar, desarticular y «contrafusionar» la materialidad del folclore tradicional, la cantora interpela, desarticula y lleva al choque a la noción esencial de Nación. Así, en la producción interpretativa de Herrero, para la cual proponemos una periodización, se postulan visiones diversas sobre la nación en sucesivos momentos. A través de un análisis musical de dos versiones de la autora sobre piezas de Atahualpa Yupanqui producidas entre 1989 y 1994, mostramos cómo opera el modo de representación del primero de los momentos identificados. A modo de epílogo, sugerimos los modos hacia los cuales la autora vira en momentos subsiguientes de su carrera. Universidad Nacional del Litoral 2021-12-16 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion artículo Articulo info:ar-repo/semantics/artículo application/pdf https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/ISM/article/view/11034 10.14409/rism.v0i19.11034 Revista del ISM; Núm. 19 (2021): Revista del ISM; 148-181 Revista del ISM; No 19 (2021): Revista del ISM; 148-181 2362-3322 1666-7603 10.14409/rism.v0i19 spa info:eu-repo/grantAgreement/EC/FP7/ https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/ISM/article/view/11034/15220 info:eu-repo/semantics/openAccess Derechos de autor 2021 Revista del ISM |
| institution |
Universidad Nacional del Litoral |
| collection |
Publicaciones periódicas |
| language |
spa |
| format |
Artículo revista |
| description |
This essay offers an interpretation of the ways in which the music by Liliana Herrero (1949 – present) represents the Argentinian nation. For this purpose, we initially analyze the senses of the nation which appear within this singer and philosopher’s verbal discourse, and examine them through the prism of the perspectives on the nation set out by Alejandro Grimson. Subsequently, by projecting in a metaphorical way the notion of folkmusic as metonymy of the nation over Herrero’s production, we propose the following hypothesis: by questioning, disassembling and contra–fusing («contrafusionar», a word Herrero has coined) the material of traditional folclore, Herrero questions, disassemble and brings the essentialist idea of Argentinian nation to a collision. Thus, Herrero’s production —which we periodize here— offers diverse visions about the nation within different moments. By means of the musical analysis of two of Herrero’s versions on songs of Atahualpa Yupanqui, we show the particular way in which the nation is represented within the first identified period. As an epilogue, we suggest the paths followed by the author in subsequent moments of her career. |
| author |
Reccitelli, Lucas |
| spellingShingle |
Reccitelli, Lucas Nación/Canción |
| author_facet |
Reccitelli, Lucas |
| author_sort |
Reccitelli, Lucas |
| title |
Nación/Canción |
| title_short |
Nación/Canción |
| title_full |
Nación/Canción |
| title_fullStr |
Nación/Canción |
| title_full_unstemmed |
Nación/Canción |
| title_sort |
nación/canción |
| publisher |
Universidad Nacional del Litoral |
| publishDate |
2021 |
| url |
https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/ISM/article/view/11034 |
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1720318814403428352 |
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11.8626 |