Carlos chavez obertura republicana essay

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Carlos chavez obertura republicana essay

Carlos chavez obertura republicana essay

Please contact mpub-help umich. Art is a human phenomenon, which the state must promote and use as a weapon to educate the proletarian class.

Its analysis requires a multidisciplinary perspective, sometimes historical, political, sociological, ideological, and musical.

An analysis that takes into consideration all of these factors is not only pertinent but also necessary for the aesthetic and political study of the process of cultural construction in post-revolutionary Mexico, as well as the role that institutions exerted in controlling national artistic production.

This study reevaluates the mechanisms of symbolic legitimation of the authoritarian regime in post-revolutionary Mexico, as well as the relationship between authoritarianism, nationalism, cultural construction, and musical creation.

Revolution and Nation Building The socio-political and cultural life of Mexico in the first half of the twentieth century was profoundly marked by the consequences of the Mexican Revolution — However, the much-desired nation existed only in the political imagination of the intellectual elite, especially because Mexico did not have a cultural, linguistic, political, sociological, and economic unity that would allow the federation of this new nation.

The fundamental difference between the cultural hegemony Carlos chavez obertura republicana essay the colonial period and the one imposed in the post-revolutionary period was the belief of belonging to an ancient nation that would occupy a seminal place in Western modernity through the radical changes produced by the Revolution.

The analysis of the interaction between the post-revolutionary musical institutions and the Mexican authoritarian regime [4] reveals the process of identity construction and political legitimation of a postcolonial country ravaged by ten years of civil war.

Nationalistic Discourses and Music

In order to understand the complexity of this process, it is necessary to address the construction of a Mexican national identity and its manifestations in art from a political perspective. The main objective of the nationalist discourse in the arts was to contribute to the creation of a common symbolic system for all Mexicans, a new national culture with which citizens could identify themselves regardless of their ethnic or social origin.

This cultural construction was accompanied by the establishment of new political structures and institutions that allowed the populist regime to assert authoritarian powers and ensure its continuity. Indeed, the political instability during the early post-revolutionary governments —34characterized by a succession of political leaders and warlords, created a pseudo-democratic regime of a corporatist type from on, which allowed a single political party the Partido Revolucionario Institucional [PRI] to remain in power for over seven decades.

The directors of the SEP were conscious of the critical importance of the educational project in nation building, as one of its delegates expressed in One of the purposes of the SEP is to strengthen the ties of nationality, because only then the Mexican homeland will be truly constituted.

With this laudable aim, it is giving a great impulse to cultural aesthetics, which will make the beauty of our own soil be known and felt; which will cultivate the emerging Mexican music; which will make our poets and novelists sing our beauties; that architects cultivate indigenous styles in which they will find hitherto unknown beautiful motifs; that instead of being inspired by the masterworks of foreign artists, our painters will find inspiration upon the sublime and majestic creations of our exuberant nature; that the conceptions of art will have application in the industries, and finally, that the joys that music, painting, poetry, drama, provide will not be an exclusive privilege of a few, but heritage of all.

With regards to the arts, the nationalist discourses were varied, polymorphic, and occasionally, antagonistic. Sincethis movement of cultural construction had its strongest manifestations in the visual arts and literature, represented by the muralist and Stridentist movements, [8] and in music, represented especially by Julian Carrillo —Manuel M.

Thanks to government intervention, both painters from the muralist movement and composers were given the task of creating a theory of a new Mexican identity and applying it to their works. As mentioned above, the new Mexican identity was constructed, on the one hand, by new appreciation of the pre-Hispanic past and the European cultural inheritance and, on the other hand, by the assertion of a Mexican culture within the dominant Western culture, which was generally perceived as universal.

Carlos chavez obertura republicana essay

This opposition was essential to forge [federar] and recognize the value of an imaginary Mexico with its own unique characteristics, which would occupy an important place in the modern Western world. The goal was to overcome with this new myth the past four centuries of colonialism. It is impossible, however, to speak of coherence or aesthetic uniformity in all Mexican works considered to be nationalistic because of the variety of ideological positions in the discourses of Mexican artists.

With respect to music, the positions and strategies with which composers sought to define and integrate a Mexican music within the dominant culture of the Western world were extremely heterogeneous and fluctuating. To mention a few: Not only artistic, but also political, factors came into play in this struggle, especially because of the enormous power given to government members for the support of the fragile independence of musical institutions.

He was a prolific writer of newspaper articles in which he expounded his ideas, sometimes in such a categorical manner that they would resemble small politico-artistic manifestos.

Most of these articles are recognizably of a political character, reflecting his desire to justify his actions, legitimize his ideas, disseminate his educational thoughts, or respond publicly to attacks by other composers. The analysis of the evolution of his musical thought and the nationalistic discourse of his writings reveals both constant and variable ideological positions that allowed him to keep close ties to the post-revolutionary regime for over thirty years.

Rather, he constantly adapted his ideas to the needs and political orientations of the current government, with which he had to negotiate. The authoritarian foundations of his aesthetic and sociological convictions, however, remained constant:Janitzio is a symphonic poem by the Mexican composer Silvestre Revueltas, composed in and revised in A performance lasts about fifteen minutes.

Carlos Chavez | ArkivMusic

The work is a portrait of Janitzio Island in Lake Pátzcuaro, Mexico. The musical nationalism in post-revolutionary Mexico was a complex phenomenon that resists a simplistic or historicist view. Its analysis requires a multidisciplinary perspective, sometimes historical, political, sociological, ideological, and musical.

Carlos Chavez’s Obertura Republicana is a politically motivated piece for orchestra. The piece is specifically based off of Mexico’s Indian heritage. The piece involves an arrangement of a traditional military march titled Zacatecas, the famous salon waltz, Club Verde and the revolutionary piece.

Nov 13,  · Carlos Chávez (): Chapultepec (Obertura republicana) () Sinfónica del estado de México diretta da Carlos Chávez The music published in this channel is exclusively. Carlos Chavez Obertura Republicana - Carlos Chavez Obertura Republicana Carlos Chavez’s Obertura Republicana is a politically motivated piece for orchestra.

The piece is specifically based off of Mexico’s Indian heritage. LP Orchestral Collections (S) sealed (A) audiophile (SA) sealed audiophile. Carlos Chavez - Chavez (Sinfonia India; Obertura Republicana +); Moncayo (Huapango) Decca DL $

Taylor Repertoire - PTAMD