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• contents
  • Index
  • Introduction
  • 1.1. Problem Statement: Latin American Baroque is not Latin American
  • 1.1. History of the Fandango
  • 1.2. Fandango as a Ritual
  • 1.3. Fandango as a Musical Family
  • 2.1. Huapango
  • 2.2. "El Fandanguito" 1 and A Baroque Fandango Style Copy
  • 2.3. El Fandanguito" 2 and Boccherini´s Fandango
  • 2.4. Experiments with Historical Bow-Grip in Huapango
  • 3.1. Joropo
  • 3.2. Results: Suite Cantaclaro
  • 3.3. Results: Postcolonial Fandango
  • 3.4. Conclusions
  • Bibliography
  • Camilo Arias
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• abstract
  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.
• Camilo Arias - Camilo Arias - Master Research Last Sand - 2023
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