Spanish Composers within and without Borders: On National Belonging in the Work of Ramon Lazkano and Carlos de Castellarnau
| Autor: | Annelies Fryberger, Luis Velasco-Pufleau |
|---|---|
| Přispěvatelé: | Centre de recherches sur les arts et le langage (CRAL), École des hautes études en sciences sociales (EHESS)-Centre National de la Recherche Scientifique (CNRS), DAAD postdoctoral scholar, Hochschule für Musik, Theater und Medien Hannover, Equipe Analyse des pratiques musicales, Sciences et Technologies de la Musique et du Son (STMS), Institut de Recherche et Coordination Acoustique/Musique (IRCAM)-Université Pierre et Marie Curie - Paris 6 (UPMC)-Centre National de la Recherche Scientifique (CNRS)-Institut de Recherche et Coordination Acoustique/Musique (IRCAM)-Université Pierre et Marie Curie - Paris 6 (UPMC)-Centre National de la Recherche Scientifique (CNRS) |
| Rok vydání: | 2019 |
| Předmět: |
History
Essentialism Identity (social science) 060404 music Contemporary art 0601 history and archaeology Cosmopolitanism 10. No inequality identity Universalism [SHS.MUSIQ]Humanities and Social Sciences/Musicology and performing arts 060101 anthropology Ramon Lazkano 06 humanities and the arts nationality language.human_language aesthetic evaluation Spain Aesthetics language contemporary art music Nationality Catalan Carlos de Castellarnau 0604 arts Music Meaning (linguistics) |
| Zdroj: | Contemporary Music Review Contemporary Music Review, Taylor & Francis, 2019, Spain beyond Spain: Contemporary Spanish Music in a Global Context, 38 (1-2), pp.164-179. ⟨10.1080/07494467.2019.1578127⟩ |
| ISSN: | 1477-2256 0749-4467 |
| DOI: | 10.1080/07494467.2019.1578127 |
| Popis: | International audience; This article looks at two Spanish composers active in France—Carlos de Castellarnau and Ramon Lazkano—to develop a reflection about how national belonging is used in contemporary art music, specifically for its evaluation and the discourses that are created around it. We see that despite both composers rejecting any essentialist definition of themselves as ‘Spanish’, ‘Basque’, or ‘Catalan’ composers, these labels are continually used to describe them and their music, even though these labels have no specific aesthetic meaning. We reflect on why national origin is used to categorise composers, even in light of their typically transnational career paths. The conclusion addresses the tension between universalism and authenticity that is present when evaluating the work of composers who have followed migratory paths. |
| Databáze: | OpenAIRE |
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