DebussyV1, Main, Exploration, bibRecord, 000023

Harmony and Disharmony. Guitar Practices and Representations in Madrid and Andalusia from 1883 to 1922

Identifieur interne : 000023 ( Main/Exploration ); précédent : 000022; suivant : 000024

Harmony and Disharmony. Guitar Practices and Representations in Madrid and Andalusia from 1883 to 1922

Auteurs : Vinciane Trancart [France]

Source :

RBID : Hal:tel-01449577

Descripteurs français

mix :
- Espagne, XIXe et XXe siècles, civilisation, histoire culturelle, iconographie, identité nationale, musique, paralittérature, presse, Guitare.
Wicri :
- geographic : Espagne.

English descriptors

mix :
- Guitar, Spain, civilisation, cultural history, iconography, music, national identity, nineteenth and twentieth centuries, press, subliterature.

Abstract

During the transition from the nineteenth to the twentieth centuries, when the question of national identity is continuing to develop in Spain, the guitar is repeatedly mentioned as the “national instrument”. This platitude ultimately proves to be a paradoxical symbol of an identity that is still under debate during this period. While stereotypical descriptions caricature the reality by oversimplifying it, on the contrary, guitar practices diversify during the Restoration, because of technical changes in the instrument and the evolution of folk, classical and flamenco music. The composition in 1920 by M. de Falla of the piece for solo guitar (Homenaje a Debussy) and the organization of the First Contest of the Cante Jondo in Granada in 1922 testify to the gradual recognition of the instrument. Yet the proliferation of printed matter, favored by the freedom of the press law (1883), gives rise to numerous literary and visual representations of the guitar that do not accurately reflect these changes. They mostly bring out its popular, Andalusian and even flamenco character, and its ability to impregnate the imagination. Published in periodicals in Madrid or Andalusia, these works influence the reception of the instrument: it is both appreciated by an increasingly wide audience, disregarded for being absent from museums and institutions, and rejected by social and moral standards because of its presence in decried places. Yet, even when this stereotype is disputed, the guitar takes on an original symbolic dimension, rooted in everyday life, which manifests itself through the emotions it provokes.

Url:

https://hal.archives-ouvertes.fr/tel-01449577

Affiliations:

France

Links toward previous steps (curation, corpus...)

to stream Hal, to step Corpus: 000005
to stream Hal, to step Curation: 000005
to stream Hal, to step Checkpoint: 000022
to stream Main, to step Merge: 000023
to stream Main, to step Curation: 000023

Le document en format XML

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<title xml:lang="es">Visiones desafinadas. Prácticas y representaciones de la guitarra en Madrid y Andalucía de 1883 a 1922</title>
<title xml:lang="fr">ACCORDS ET DÉSACCORDS. Pratiques et représentations de la guitare à Madrid et en Andalousie de 1883 à 1922</title>
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<front><div type="abstract" xml:lang="en">During the transition from the nineteenth to the twentieth centuries, when the question of national identity is continuing to develop in Spain, the guitar is repeatedly mentioned as the “national instrument”. This platitude ultimately proves to be a paradoxical symbol of an identity that is still under debate during this period. While stereotypical descriptions caricature the reality by oversimplifying it, on the contrary, guitar practices diversify during the Restoration, because of technical changes in the instrument and the evolution of folk, classical and flamenco music. The composition in 1920 by M. de Falla of the piece for solo guitar (Homenaje a Debussy) and the organization of the First Contest of the Cante Jondo in Granada in 1922 testify to the gradual recognition of the instrument. Yet the proliferation of printed matter, favored by the freedom of the press law (1883), gives rise to numerous literary and visual representations of the guitar that do not accurately reflect these changes. They mostly bring out its popular, Andalusian and even flamenco character, and its ability to impregnate the imagination. Published in periodicals in Madrid or Andalusia, these works influence the reception of the instrument: it is both appreciated by an increasingly wide audience, disregarded for being absent from museums and institutions, and rejected by social and moral standards because of its presence in decried places. Yet, even when this stereotype is disputed, the guitar takes on an original symbolic dimension, rooted in everyday life, which manifests itself through the emotions it provokes.</div>
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Harmony and Disharmony. Guitar Practices and Representations in Madrid and Andalusia from 1883 to 1922

Harmony and Disharmony. Guitar Practices and Representations in Madrid and Andalusia from 1883 to 1922

Source :

Descripteurs français

English descriptors

Abstract

Links toward previous steps (curation, corpus...)

Le document en format XML

Pour manipuler ce document sous Unix (Dilib)

Pour mettre un lien sur cette page dans le réseau Wicri