Juan Manuel Gaitán y Arteaga, the influenced musician [final]
(2024)
author(s): Alba Conejo Mangas
published in: KC Research Portal
Name: Alba Conejo Mangas.
Main subject: Historical violin.
Research supervisor: Wouter Verschuren.
Title of the research: Juan Manuel Gaitán y Arteaga, the "influenced" musician.
Research question: Is it possible to distinguish the influence of pre-flamenco in the villancicos of Juan Manuel Gaitán y Arteaga?
Summary of results: During my research, I never imagined finding music from Lima or Guatemala composed by Juan Manuel Gaitán y Arteaga, a musician from Córdoba, Spain, in the XVIII century, who had never been in these places. This discovery presented an interesting challenge: to bring back to life scores that had been forgotten for over two hundred years and to explore the music played in Córdoba Cathedral during the middle of the XVIII century.
My interest on Juan Manuel Gaitán y Arteaga started when I listened to a beautiful villancico "Voy buscando mi cordero" by Gaitán y Arteaga, performed by La Orquesta Barroca de Sevilla with Enrico Onofri. Despite being sacred music composed for the church and for weekly mass, it was written in Spanish and carried a distinct Spanish folkloric flavour. Did Juan Manuel Gaitán y Arteaga have a connection with XVIII century Spanish folk music? This caught my attention and spurred me to delve deeper into his music, particularly his villancicos. I soon realized how little-known Juan Manuel's music is today
The line of research I pursued falls within the realm of musicological-historical research. The musicological techniques employed include those related to musical historiography, such as the chronological organization of historical-musical events, particularly in Córdoba. Additionally, it involves an understanding of musical compositions, forms, and styles, as well as musical aesthetics, encompassing the conception of music, its functions, and purposes.
The objectives are: to understand the musical personality of Gaitán y Arteaga in his villancicos and the relation between the folkloric and ecclesiastical world in Spain on XVIII C.
Biography: Born in Las Palmas de Gran Canaria, she finished her modern bachelor under the guidance of Gordan Nikolic in Rotterdam. It was then, that she started her interest in historical performance. After her graduation, she studied for her baroque bachelor's in Brussels under the guidance of Ryo Terakado, and in 2022 she started her master's degree at The Hague Conservatory with professor Ryo Terakado too.
Camilo Arias - Master Research Last Sand
(2023)
author(s): Camilo Arias
published in: KC Research Portal
While the commercial musical stream of "Latin American Baroque" has been associated with musical cross-breeding, the study of the colonial repertoire that composes it documents quite the opposite: the absence of non-European musical features. By accepting the impossibility to find the written "Mestizo Baroque", this research chooses to "re-imagine it" from orality. Taking the Fandango musical family as a framework, this research enters into playful dialogues between the XVIII century European fandango and its surviving folklore counterparts: the Mexican Son Huasteco and the Colombo-Venezuelan Joropo. Through analysis and transcription of oral sources, style comparison, arrangement, and improvisation this research aims to create a musical product that reclaims the mixed-raced identities, erased from colonial archives, in today´s Early Music industry.
Postcolonial Fandango: Interdisciplinarity between Early Music, Ethnomusicology and Postcolonial Studies
(last edited: 2024)
author(s): Camilo Arias
This exposition is in progress and its share status is: visible to all.
The musical label of "Latin American Baroque" has been associated with musical cross-breeding, allthough the body of its repertorie (music from colonial archives) documents rather the absence of afro-hispanic or hispanic-amerindian musical features. By accepting the impossibility to find the written the exoticized "Mestizo Baroque", this research chooses to "re-imagine it" from orality. Taking the Fandango musical family as a framework, it enters into playful dialogues between the XVIII century European fandango and its surviving folklore counterparts: the Mexican Son Huasteco and the Colombo-Venezuelan Joropo. Through analysis and transcription of oral sources, style comparison, arrangement, and improvisation research aims to create a musical product that resolves the identity tensions present in the Performance of Colonial Baroque Music.