“Todo pasa y todo queda, pero lo nuestro es pasar”: Copistas musicales en los confines de América del Sur (Córdoba, Argentina, siglo XIX)
The presence of musical copyists in religious institutions can be documented since medieval times and the survey of this particular calligraphic features have been employed in order to assign a date of these copies, indicate their origin and their provenance. In this paper, I propose to analyze the...
Guardado en:
| Autor principal: | |
|---|---|
| Formato: | Online |
| Lenguaje: | spa |
| Publicado: |
Instituto de Historia Americana y Argentina. Facultad de Filosofía y Letras. Universidad Nacional de Cuyo.
2023
|
| Materias: | |
| Acceso en línea: | https://revistas.uncu.edu.ar/ojs3/index.php/revihistoriargenyame/article/view/6946 |
| Sumario: | The presence of musical copyists in religious institutions can be documented since medieval times and the survey of this particular calligraphic features have been employed in order to assign a date of these copies, indicate their origin and their provenance. In this paper, I propose to analyze the figure of these musical copyists in religious institutions of Córdoba (Argentina) during 19th century through the concept of “passeurs culturels” by Ares Queija & Gruzinski (1997) wich provides theoretical thickness to the particular activities of these individuals. The analysis will be focused on the social profile of these copyist and their intervention as mediators in cultural practices as a whole –and musical practices in particular– in an urban context, their participation strategies and the visibility due to their work as musicians and copyists. |
|---|
