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class="user-summary-container"><div class="social-profile-avatar-container"><img class="profile-avatar u-positionAbsolute" alt="Pablo Alejandro Suárez Marrero" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/42874351/11543053/153116915/s200_pablo_alejandro.su_rez_marrero.jpg" /></div><div class="title-container"><h1 class="ds2-5-heading-sans-serif-sm">Pablo Alejandro Suárez Marrero</h1><div class="affiliations-container fake-truncate js-profile-affiliations"><div><a class="u-tcGrayDarker" href="https://unam.academia.edu/">Universidad Nacional Autónoma de México</a>, <a class="u-tcGrayDarker" href="https://unam.academia.edu/Departments/Facultad_de_M%C3%BAsica_UNAM/Documents">Facultad de Música UNAM</a>, <span class="u-tcGrayDarker">Faculty Member</span></div><div><a class="u-tcGrayDarker" href="https://ohch.academia.edu/">Colegio Universitario San Gerónimo de La Habana</a>, <a class="u-tcGrayDarker" href="https://ohch.academia.edu/Departments/Gabinete_de_Patrimonio_Musical_Esteban_Salas/Documents">Gabinete de Patrimonio Musical Esteban Salas</a>, <span class="u-tcGrayDarker">Adjunct</span></div></div></div></div><div class="sidebar-cta-container"><button class="ds2-5-button hidden profile-cta-button grow js-profile-follow-button" data-broccoli-component="user-info.follow-button" data-click-track="profile-user-info-follow-button" data-follow-user-fname="Pablo Alejandro" data-follow-user-id="42874351" data-follow-user-source="profile_button" data-has-google="false"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">add</span>Follow</button><button class="ds2-5-button hidden profile-cta-button grow js-profile-unfollow-button" data-broccoli-component="user-info.unfollow-button" data-click-track="profile-user-info-unfollow-button" data-unfollow-user-id="42874351"><span 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class="js-profile-total-view-text">Public Views</span></p><p class="data"><span class="js-profile-view-count"></span></p></div></span></div><div class="user-bio-container"><div class="profile-bio fake-truncate js-profile-about" style="margin: 0px;">Músico, Profesor e Investigador (Cuba - México). Doctor y Maestro en Artes (Universidad de Guanajuato), Licenciado en Arte y Patrimonio Cultural (Universidad de La Habana) e Instrumentista-Profesor de Flauta y de Práctica de Conjuntos (Escuela Nacional de Música). Ha publicado artículos, capítulos y libros académicos gestados por universidades, centros de investigación y editoriales iberoamericanas. Además, ha participado en congresos, simposios, talleres y coloquios internacionales sobre musicología, patrimonio histórico-documental de la música y estudios sociales de prácticas sonoras. En la actualidad, es Profesor Asociado en la Facultad de Música - UNAM; Docente Instructor en el Gabinete de Patrimonio Musical Esteban Salas - UH; e Investigador Nacional Nivel I en la Secretaría de Ciencia, Humanidades, Tecnología e Innovación en México. Sus intereses académicos abarcan la musicología popular y decolonial, la educación patrimonial de la música, así como la representación de masculinidades hegemónicas y subalternas en performances musicales.<br /><span class="u-fw700">Supervisors: </span>Dra. Miriam Escudero, Dr. Luis Barreiro, Dr. Hugo Barreiro, and Dr. Alfonso Pérez<br /><b>Address: </b>México / Cuba<br /><div class="js-profile-less-about u-linkUnstyled u-tcGrayDarker u-textDecorationUnderline u-displayNone">less</div></div></div><div class="suggested-academics-container"><div class="suggested-academics--header"><p class="ds2-5-body-md-bold">Related Authors</p></div><ul class="suggested-user-card-list"><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://ucla.academia.edu/CesarFavila"><img class="profile-avatar u-positionAbsolute" alt="Cesar Favila" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/172663/405562/64484015/s200_cesar.favila.jpg" /></a></div><div class="suggested-user-card__user-info"><a class="suggested-user-card__user-info__header ds2-5-body-sm-bold ds2-5-body-link" href="https://ucla.academia.edu/CesarFavila">Cesar Favila</a><p class="suggested-user-card__user-info__subheader ds2-5-body-xs">University of California, Los Angeles</p></div></div><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://cenidiap.academia.edu/B%C3%A1rbaraP%C3%A9rezRuiz"><img class="profile-avatar u-positionAbsolute" alt="Bárbara Pérez Ruiz" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/4352620/1752924/2884388/s200_b_rbara.p_rez_ruiz.jpg" /></a></div><div class="suggested-user-card__user-info"><a class="suggested-user-card__user-info__header ds2-5-body-sm-bold ds2-5-body-link" href="https://cenidiap.academia.edu/B%C3%A1rbaraP%C3%A9rezRuiz">Bárbara Pérez Ruiz</a><p class="suggested-user-card__user-info__subheader ds2-5-body-xs">Instituto Nacional de Bellas Artes-Mexico</p></div></div><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://upf.academia.edu/RevistaFormaRevistadeHumanidades"><img class="profile-avatar u-positionAbsolute" alt="Forma. 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</a></div></div><div class="external-links-container"><ul class="profile-links new-profile js-UserInfo-social"><li class="left-most js-UserInfo-social-cv" data-broccoli-component="user-info.cv-button" data-click-track="profile-user-info-cv" data-cv-filename="Pablo_Suarez_-_Curriculum_Vitae.pdf" data-placement="top" data-toggle="tooltip" href="/PabloAlejandroSu%C3%A1rezMarrero/CurriculumVitae"><button class="ds2-5-text-link ds2-5-text-link--small" style="font-size: 20px; letter-spacing: 0.8px"><span class="ds2-5-text-link__content">CV</span></button></li><li class="profile-profiles js-social-profiles-container"><i class="fa fa-spin fa-spinner"></i></li></ul></div></div></div><div class="right-panel-container"><div class="user-content-wrapper"><div class="uploads-container" id="social-redesign-work-container"><div class="upload-header"><h2 class="ds2-5-heading-sans-serif-xs">Uploads</h2></div><div class="nav-container backbone-profile-documents-nav hidden-xs"><ul class="nav-tablist" 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data-work-id="123974698"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/123974698/_Para_poder_componer_Una_biograf%C3%ADa_sonora_sobre_Alejandro_Garc%C3%ADa_Villal%C3%B3n_Virulo_1955_2008_PORTADA"><img alt="Research paper thumbnail of "Para poder componer…": Una biografía sonora sobre Alejandro García Villalón 'Virulo' (1955-2008) - PORTADA" class="work-thumbnail" src="https://attachments.academia-assets.com/118287109/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/123974698/_Para_poder_componer_Una_biograf%C3%ADa_sonora_sobre_Alejandro_Garc%C3%ADa_Villal%C3%B3n_Virulo_1955_2008_PORTADA">"Para poder componer…": Una biografía sonora sobre Alejandro García Villalón 'Virulo' (1955-2008) - PORTADA</a></div><div class="wp-workCard_item"><span>Vernon Press</span><span>, 2025</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La pluralidad discursiva manifiesta en la actual música popular se encuentra enmarcada en una rea...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La pluralidad discursiva manifiesta en la actual música popular se encuentra enmarcada en una realidad estético-musical cambiante, causada por una postmodernidad social cada vez más abierta a la globalización de las expresiones culturales de los pueblos. Es dentro de esta dinámica social que emerge la figura creativa de Alejandro García Villalón Virulo y sus grabaciones sonoras (1973-2021). En estas, el cantautor empleó disímiles recursos musicales, literarios, escénicos y visuales para ejercer la crítica sobre sus contextos germinales, como vía desacralizadora de culturas hegemónicas y paradigmas sociales construidos a lo largo del devenir histórico de los pueblos de la región. La casi nula existencia de estudios académicos sobre este artista y sus documentos sonoros constituye una oportunidad para construir su biografía sonora como contexto de performance (1955-2008), donde se imbricaron elementos históricos, políticos, sociales y culturales condicionados por marcos temporales y espacios geográficos. Para ello, se concatenaron herramientas teóricas, conceptuales y metodológicas provenientes de los estudios de performance, la historiografía crítica y la musicología popular. La presente investigación conduce a repensar las relaciones entre música y humor en culturas musicales de América Latina y el Caribe, la concepción de la biografía sonora de un cantautor como aproximación a su contexto germinal, así como el abordaje de los documentos de música grabada o programada como fuentes primarias de información para estudios sociales de prácticas sonoro-musicales situadas.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2e6ef7f12d888d5375498ef7f6eb3e4f" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":118287109,"asset_id":123974698,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/118287109/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="123974698"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="123974698"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 123974698; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="108313694"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/108313694/Estudios_sobre_m%C3%BAsicas_populares_en_M%C3%A9xico_I_PRELIMINARES"><img alt="Research paper thumbnail of Estudios sobre músicas populares en México I - PRELIMINARES" class="work-thumbnail" src="https://attachments.academia-assets.com/121493659/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/108313694/Estudios_sobre_m%C3%BAsicas_populares_en_M%C3%A9xico_I_PRELIMINARES">Estudios sobre músicas populares en México I - PRELIMINARES</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://unam.academia.edu/PabloAlejandroSu%C3%A1rezMarrero">Pablo Alejandro Suárez Marrero</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://enah.academia.edu/LilianaJamaicaSilva">Liliana Jamaica Silva</a></span></div><div class="wp-workCard_item"><span>Son de Papel Editorial</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Estudios sobre músicas populares en México I constituye el primer volumen de la colección creada ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Estudios sobre músicas populares en México I constituye el primer volumen de la colección creada por la Editorial Son de Papel para difundir conocimientos críticos en torno a las músicas populares que tienen presencia en territorio mexicano. Si bien la información acá contenida tiene sus orígenes en reflexiones académicas suscitadas en el marco del 1er Congreso de Músicas Populares en México (San Luis Potosí, 2022), cada capítulo constituye un espacio reflexivo independiente sobre una práctica musical específica, cuya caracterización se nutre de los estilos que se han adaptado a circunstancias socioculturales presentes en la nación. El libro consta de siete capítulos, ilustrativos de los disímiles caminos recorridos por los estudios sobre músicas populares como campo multidisciplinario de conocimiento académico en México. En varias partes del volumen se enfatiza en el origen de las músicas populares como parte de expresiones tradicionales de alcance local o regional, defendiéndose el trabajo etnográfico en las sociedades depositarias de dichas prácticas. Por otro lado, en otras partes se apuntan hacia los procesos de modernización, mediatización y masificación de las músicas populares, como forma de acercarlas a las personas que las practican, consumen y construyen en espacios urbanos de socialización. Sin dudas, el trabajo de las personas autoras de este primer conjunto de investigaciones abona, cabal y profesionalmente, a la exploración, descripción, análisis e interpretación del complejo estado de la cultura sonoro-musical que ha caracterizado, desde siempre, a nuestro país. Esperamos que este primer volumen de la colección sirva de apertura, profesionalización y continuidad a una ingente labor editorial y de investigación sobre las músicas populares en México.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="bfaa2b35222c1254c3f5fe723cb76d6d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":121493659,"asset_id":108313694,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/121493659/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="108313694"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="108313694"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 108313694; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="98690809"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/98690809/Escenas_Diversas_Drama_Humor_y_M%C3%BAsica_PORTADA_PREFACIO_and_PLAYLIST"><img alt="Research paper thumbnail of Escenas Diversas: Drama, Humor y Música - PORTADA, PREFACIO & PLAYLIST" class="work-thumbnail" src="https://attachments.academia-assets.com/100404920/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/98690809/Escenas_Diversas_Drama_Humor_y_M%C3%BAsica_PORTADA_PREFACIO_and_PLAYLIST">Escenas Diversas: Drama, Humor y Música - PORTADA, PREFACIO & PLAYLIST</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://unam.academia.edu/PabloAlejandroSu%C3%A1rezMarrero">Pablo Alejandro Suárez Marrero</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://ugto.academia.edu/AlfredoHern%C3%A1ndez">Alfredo Hernández Cadena</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unam1.academia.edu/MarusiaPolaMayorga">Marusia Pola Mayorga</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://antioquia.academia.edu/LauraErazo">Laura Erazo</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uncoma.academia.edu/MFlores">Marta Flores</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://unam.academia.edu/RenierGarnier">Renier Garnier</a></span></div><div class="wp-workCard_item"><span>Vernon Press</span><span>, Apr 4, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En el presente libro colectivo se apuesta por la diversidad de las escenas musicales como una de ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En el presente libro colectivo se apuesta por la diversidad de las escenas musicales como una de sus mayores fortalezas en el ámbito iberoamericano. De esa forma, el concepto de escenas se convierte en un ámbito discursivo oportuno para construir aproximaciones dinámicas y flexibles a las regiones desde sus quehaceres musicales, ya sea en el pasado histórico o en el accionar reciente. De ese modo, se busca contribuir a los actuales debates sobre las escenas musicales desde su propia diversidad, asociada a elementos discursivos propios del drama social y el humor inteligente. Para ello, se propone un recorrido casuístico y diacrónico por ejemplos particularizados sobre prácticas musicales que se gestaron en localidades propias de Iberoamérica, desde finales del siglo XIX y hasta la actualidad. Este volumen constituye un compendio de estudios sobre prácticas musicales acontecidas en ciudades de España, Argentina, México, Cuba, Venezuela y Colombia. Desde su individualidad, en cada capítulo se busca conciliar una mirada histórica a pasadas escenas y su pervivencia en documentos musicales de diversa índole: partituras, grabaciones sonoras, exponentes iconográficos, medios de difusión y materiales audiovisuales. Además, se aborda la creciente virtualización y desterritorialización física de las escenas musicales regionales en aras de un deseado alcance glocal, a raíz de la situación pandémica causada por el Covid-19. Sin duda, considero que esta obra editorial puede contribuir a revivir pretéritos debates sobre nuestras escenas musicales, así como la creación de nuevas y múltiples instancias comunicativas para la socialización de conocimientos especializados relacionados con prácticas sonoro-musicales en sociedad, con amplio respeto a su propia diversidad germinal y expresiva. <br /> <br />Lista de reproducción con músicas referidas a lo largo del libro: <a href="https://open.spotify.com/playlist/4E7LSgy2CuBHH5YjkY2Puj?si=49e5c22a706143a8" rel="nofollow">https://open.spotify.com/playlist/4E7LSgy2CuBHH5YjkY2Puj?si=49e5c22a706143a8</a> <br /> <br />Por tiempo limitado, está disponible con un 24% descuento en <a href="https://vernonpress.com/book/1667" rel="nofollow">https://vernonpress.com/book/1667</a>, usando el código CFC11264336C3.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e00934a96f6843a1942821125d57096f" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":100404920,"asset_id":98690809,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/100404920/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="98690809"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="98690809"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 98690809; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="profile--tab_heading_container js-section-heading" data-section="Chapters" id="Chapters"><h3 class="profile--tab_heading_container">Chapters by Pablo Alejandro Suárez Marrero</h3></div><div class="js-work-strip profile--work_container" data-work-id="122464155"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/122464155/_Y_no_es_machismo_performatividades_de_g%C3%A9nero_en_la_lista_de_reproducci%C3%B3n_Los_TiGLESS_YouTube_2017_"><img alt="Research paper thumbnail of "Y no es machismo...": performatividades de género en la lista de reproducción Los TiGLESS (YouTube, 2017)" class="work-thumbnail" src="https://attachments.academia-assets.com/117122252/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/122464155/_Y_no_es_machismo_performatividades_de_g%C3%A9nero_en_la_lista_de_reproducci%C3%B3n_Los_TiGLESS_YouTube_2017_">"Y no es machismo...": performatividades de género en la lista de reproducción Los TiGLESS (YouTube, 2017)</a></div><div class="wp-workCard_item"><span>Humanidades e Ciências Sociais: Perspectivas Teóricas, Metodológicas e de Investigação V</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Los TiGLESS es una lista de reproducción creada por Los Tres Tristes Tigres y Gilberto Gless en Y...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Los TiGLESS es una lista de reproducción creada por Los Tres Tristes Tigres y Gilberto Gless en YouTube (2017), integrada por cuatro parodias musicales de canciones representativas del ámbito popular en México. Dichos documentos audiovisuales permiten acceder a formas creativas de proponer nuevas performatividades de género para lo macho, varón y masculino en el país. Por lo que, en este artículo se cuestionan las músicas populares, discursos textuales y corporalidades que se entrelazan en dichas composiciones performativas, para deconstruir aspectos sociales de las masculinidades hegemónicas. Para ello, se acuden a los modos en que se expresan, transmiten y reproducen patrones culturales de género, así como las formas en que sus consumidores percibe dichos estereotipos sociales.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4ed8493cc95314b6127b2441ec57c2ac" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":117122252,"asset_id":122464155,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/117122252/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="122464155"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="122464155"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 122464155; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="109533301"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/109533301/Los_Tres_Tristes_Tigres_y_sus_performances_para_campa%C3%B1as_publicitarias_2016_2022_un_an%C3%A1lisis_m%C3%BAsico_audiovisual"><img alt="Research paper thumbnail of Los Tres Tristes Tigres y sus performances para campañas publicitarias (2016-2022): un análisis músico-audiovisual" class="work-thumbnail" src="https://attachments.academia-assets.com/107630038/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/109533301/Los_Tres_Tristes_Tigres_y_sus_performances_para_campa%C3%B1as_publicitarias_2016_2022_un_an%C3%A1lisis_m%C3%BAsico_audiovisual">Los Tres Tristes Tigres y sus performances para campañas publicitarias (2016-2022): un análisis músico-audiovisual</a></div><div class="wp-workCard_item"><span>Estudios sobre músicas populares en México I </span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Según consta en su canal oficial en YouTube: “Los Tres Tristes Tigres es un trío de comedia music...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Según consta en su canal oficial en YouTube: “Los Tres Tristes Tigres es un trío de comedia musical cuyo espectáculo consiste en canciones originales y parodias precedidas por preámbulos divertidos, monólogos y rutinas” (2008). Esta agrupación regiomontana está conformada por Pedro Palacios (guitarra y primera voz), Erick Ibarra (bajo y segunda voz) y Jesús Gallardo (acordeón, iPad y tercera voz). Hasta el momento, en el mencionado sitio web alojan 531 materiales audiovisuales (espectáculos completos o fragmentados, videoclips, stand up, colaboraciones con otros artistas y entrevistas), con más de 2,5 millones de seguidores y 647 millones de visitas únicas. En los últimos seis años, Los Tres Tristes Tigres también han participado en campañas publicitarias de alcance nacional, donde enarbolan el sonido característico de una dotación instrumental que simula al tradicional conjunto norteño. Con la gestión de Damara Félix y Ecléctica Producciones, este trío se ha convertido en un abanderado de la comedia musical en México, movimiento artístico-cultural al que se suman otras agrupaciones como Pacotilla (2017) y El Mariachillo (2021). Sin embargo, hasta el momento son nulas las investigaciones académicas sobre dicho ensamble, las posibles relaciones entre los discursos musicales, textuales y humorísticos manifiestos en sus documentos audiovisuales, así como sus implicaciones socioculturales para las músicas populares del país. A partir de estos vacíos epistémicos, es necesario realizar un primer acercamiento a sus catorce performances para campañas publicitarias, como vía para acceder a conocimientos sobre las formas en que las compañías emplean determinadas músicas populares con fines comerciales y las razones para ello. Si bien los estudios sobre música y publicidad se encuentran en un estadio caracterizado por un incipiente interés académico, su poco desarrollo teórico y fragmentación metodológica (Sánchez y Viñuela, 2017), para este trabajo se asume la propuesta de análisis músico-audiovisual de Virginia Sánchez (2015). Esta herramienta analítica permite profundizar en el origen y finalidad social de la música empleada en las campañas publicitarias, la fuente de emisión de los sonidos y su grado de sincronización con la imagen, su articulación conceptual con el mensaje comercial y las funciones que posee la música en el audiovisual resultante. Desde una perspectiva que integra saberes musicológicos, de marketing y comunicación, en la presente investigación se consideran las particularidades del contexto actual, caracterizado por convergencias entre culturas participativas y narrativas transmedia. Bajo ese tenor, Los Tres Tristes Tigres ocupan un nicho del mercado de comedias en vivo con énfasis en la música y lo popular, aspectos considerados por disímiles compañías nacionales para promocionar productos comerciales y servicios financieros en México.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c40ad49d8d15e5a8c3816dc19c75d209" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":107630038,"asset_id":109533301,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/107630038/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="109533301"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="109533301"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 109533301; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="99527986"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/99527986/_Se_acab%C3%B3_Agencia_sociopol%C3%ADtica_y_gesto_multimodal_en_el_videoclip_cubano_Patria_y_Vida_2021_"><img alt="Research paper thumbnail of ¡Se acabó! Agencia sociopolítica y gesto multimodal en el videoclip cubano "Patria y Vida" (2021)" class="work-thumbnail" src="https://attachments.academia-assets.com/100840790/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/99527986/_Se_acab%C3%B3_Agencia_sociopol%C3%ADtica_y_gesto_multimodal_en_el_videoclip_cubano_Patria_y_Vida_2021_">¡Se acabó! Agencia sociopolítica y gesto multimodal en el videoclip cubano "Patria y Vida" (2021)</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://unam.academia.edu/PabloAlejandroSu%C3%A1rezMarrero">Pablo Alejandro Suárez Marrero</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://unam.academia.edu/RenierGarnier">Renier Garnier</a></span></div><div class="wp-workCard_item"><span>Escenas Diversas: Drama, Humor y Música</span><span>, Apr 4, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En este artículo trazamos redes interpretativas entre los discursos en la esfera pública, las sub...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En este artículo trazamos redes interpretativas entre los discursos en la esfera pública, las subjetividades creativas y la extextualización audiovisual en torno al videoclip Patria y Vida, realizado por Asiel Babastro, para la canción homónima interpretada por Yotuel Romero, el dúo Gente de Zona, Descemer Bueno, Maykel Osorbo y El Funky. El contexto germinal convulso en el que se inserta el audiovisual, su singularidad morfológico-connotativa y su alto impacto, requiere indagar sobre el modo en el que la materialidad audiovisual y las redes simbólicas compartidas por creadores y públicos articulan saberes, metáforas y agencia sociopolítica. Como resultado, comprobamos que Patria y Vida se sostiene sobre códigos relacionados con el videoclip nacional, que en su interrelación multimodal interpelan y movilizan a la esfera pública en el marco de la pugna por el poder simbólico y político de la Cuba actual.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="cd20fcea09168eeb0b626352a2c6a213" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":100840790,"asset_id":99527986,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/100840790/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="99527986"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="99527986"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 99527986; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=99527986]").text(description); $(".js-view-count[data-work-id=99527986]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 99527986; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='99527986']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "cd20fcea09168eeb0b626352a2c6a213" } } $('.js-work-strip[data-work-id=99527986]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":99527986,"title":"¡Se acabó! Agencia sociopolítica y gesto multimodal en el videoclip cubano \"Patria y Vida\" (2021)","internal_url":"https://www.academia.edu/99527986/_Se_acab%C3%B3_Agencia_sociopol%C3%ADtica_y_gesto_multimodal_en_el_videoclip_cubano_Patria_y_Vida_2021_","owner_id":42874351,"coauthors_can_edit":true,"owner":{"id":42874351,"first_name":"Pablo Alejandro","middle_initials":null,"last_name":"Suárez Marrero","page_name":"PabloAlejandroSuárezMarrero","domain_name":"unam","created_at":"2016-02-08T11:50:46.170-08:00","display_name":"Pablo Alejandro Suárez Marrero","url":"https://unam.academia.edu/PabloAlejandroSu%C3%A1rezMarrero"},"attachments":[{"id":100840790,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/100840790/thumbnails/1.jpg","file_name":"Chapter_12_Escenas_Diversas.pdf","download_url":"https://www.academia.edu/attachments/100840790/download_file","bulk_download_file_name":"Se_acabo_Agencia_sociopolitica_y_gesto.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/100840790/Chapter_12_Escenas_Diversas-libre.pdf?1680962087=\u0026response-content-disposition=attachment%3B+filename%3DSe_acabo_Agencia_sociopolitica_y_gesto.pdf\u0026Expires=1740636632\u0026Signature=TMtf-LNYawFbB1~0XZSSEmPudxjJOb~lkjF8lTQSTXASw-PdOQ~Mi9Zgs75kF4WhitTs2QXJYRK7T8trzY0HjK3Er7~S8CgFzwxZtFPtrKydV4gFr03i736ZKSpiu1z-6PtBP2iqVGXJsCQZn4yTYxWf5PELclgb6wdI5dEJ92TlUgJkDiULR7Uv~-HYlhrBeBsJecCfg4c57f0s1G3vjNgk7d6KbD0flw8zXdSgZ3fPm3ydZItMSxW6cAr5SCM68JvGp5Vl2qBGYPp-JPbvLD8EUJs0F49womjYntzbMmEpxy6bYN2eN2dBDvZOuyhs8sZBf~B4VGvNrSN9-TeP6A__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="71695180"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/71695180/Corporalidad_y_humor_en_las_portadas_de_las_grabaciones_sonoras_comerciales_1992_2017_de_Alejandro_Garc%C3%ADa_Villal%C3%B3n_Virulo_"><img alt="Research paper thumbnail of Corporalidad y humor en las portadas de las grabaciones sonoras comerciales (1992-2017) de Alejandro García Villalón “Virulo”" class="work-thumbnail" src="https://attachments.academia-assets.com/80932475/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/71695180/Corporalidad_y_humor_en_las_portadas_de_las_grabaciones_sonoras_comerciales_1992_2017_de_Alejandro_Garc%C3%ADa_Villal%C3%B3n_Virulo_">Corporalidad y humor en las portadas de las grabaciones sonoras comerciales (1992-2017) de Alejandro García Villalón “Virulo”</a></div><div class="wp-workCard_item"><span>6° Congresso Brasileiro de Iconografia Musical - Anais</span><span>, Dec 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Alejandro García Villalón “Virulo” es un cantautor cubano-mexicano de formación musical autodidac...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Alejandro García Villalón “Virulo” es un cantautor cubano-mexicano de formación musical autodidacta. Él fue miembro fundador del Movimiento de la Nueva Trova, participó y dirigió el Conjunto Nacional de Espectáculos de Cuba, así como fundó el otrora Centro Nacional de Promoción del Humor en el archipiélago caribeño. Entre otros galardones, recibió el Premio Nacional de Humorismo en el año 2014, máxima distinción que otorga el actual Centro Promotor del Humor, que pertenece al Consejo Nacional de las Artes Escénicas del Ministerio de Cultura de Cuba. Aun cuando existen importantes antecedentes analíticos de algunos de sus performances (Dalbem, 2012) y canciones específicas (Ruiz-Trejo, 2012), hasta el momento no han sido sistematizadas las relaciones entre música y humor en la creación de “Virulo” en su totalidad. Sin embargo, aún menos abordadas son las representaciones iconográficas de dichas prácticas musicales presentes en sus grabaciones sonoras comerciales (1992-2017). Este cantautor cuenta con un total de diecisiete documentos de música grabada en formato Compac disc, en su mayoría licenciados por el sello Discos Pueblo de Fonarte Latino (México) y por la Empresa de Grabaciones y Ediciones Musicales EGREM (Cuba). Al considerar que las portadas de las grabaciones sonoras comerciales de Alejandro García Villalón “Virulo” forman parte de su iconografía musical personal, es posible estudiarlas como referentes visuales de su historia de vida y biografía sonora. Bajo ese tenor, vale la pena desentrañar los posibles significados que adquieren el cuerpo del sujeto-creador y su humor en las representaciones iconográficas estudiadas, en relación con las propias prácticas germinales del documento musical y sus contextos de contacto. Para la sistematización de la iconografía presente en las portadas de las grabaciones sonoras comerciales de “Virulo” se recurre a la propuesta metodológica de Evguenia Roubina (2010), misma que revisa los tipos de evidencias (organológicas, musicológicas, antropológicas y teológico-filosóficas), el carácter de las evidencias (probatorio, complementario o específico) y su grado de confiabilidad (alto, medio o bajo). Además, se considera oportuno complementarla con el análisis tripartito propuesto por Erwin Panofsky (1987) para el estudio del significado en aquellas portadas donde prevalecen las evidencias antropológicas: descripción pre-iconográfica (identificación de los motivos artísticos), análisis iconográfico (sistematización del contenido de la imagen) y síntesis iconológica (revelación del contenido simbólico de la obra). Desde un punto de vista operativo, la propuesta de Roubina constituye una etapa exploratoria de aproximación a las portadas de dichas grabaciones sonoras comerciales, mientras que el método de Panofsky permite avanzar hacia una etapa explicativa ulterior. La presente comunicación se atiene al precepto de que la iconografía puede ser un valioso recurso metodológico para el estudio social de la música. Por lo que se asumen postulados del eje cognitivo-conductual de la semiótica musical propuestos por Óscar Hernández (2012), para cuestionar sobre las circunstancias específicas del contacto corporal de Alejandro García Villalón “Virulo” con la música y el humor, así como las reacciones corporales del sujeto representado ante su propio quehacer performativo.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="abe7206954ce132729508814ad99a7fd" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":80932475,"asset_id":71695180,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/80932475/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="71695180"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="71695180"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 71695180; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="50883519"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/50883519/Humor_y_pol%C3%ADtica_en_el_performance_La_Historia_de_Cuba_1979_de_Alejandro_Garc%C3%ADa_Villal%C3%B3n_Virulo_perspectivas_etnomusicol%C3%B3gicas_e_historiogr%C3%A1ficas"><img alt="Research paper thumbnail of Humor y política en el performance La Historia de Cuba (1979) de Alejandro García Villalón "Virulo": perspectivas etnomusicológicas e historiográficas" class="work-thumbnail" src="https://attachments.academia-assets.com/68759066/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/50883519/Humor_y_pol%C3%ADtica_en_el_performance_La_Historia_de_Cuba_1979_de_Alejandro_Garc%C3%ADa_Villal%C3%B3n_Virulo_perspectivas_etnomusicol%C3%B3gicas_e_historiogr%C3%A1ficas">Humor y política en el performance La Historia de Cuba (1979) de Alejandro García Villalón "Virulo": perspectivas etnomusicológicas e historiográficas</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://unam.academia.edu/PabloAlejandroSu%C3%A1rezMarrero">Pablo Alejandro Suárez Marrero</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://guadalajara.academia.edu/IbisamyRodr%C3%ADguezPairol">Ibisamy Rodríguez Pairol</a></span></div><div class="wp-workCard_item"><span>Estudos Latino-Americanos sobre Música</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La Historia de Cuba (1979) es la primera grabación sonora comercial de Alejandro García Villalón ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La Historia de Cuba (1979) es la primera grabación sonora comercial de Alejandro García Villalón Virulo, cantautor cubanomexicano de formación musical autodidacta. A pesar de su importante trayectoria, las grabaciones sonoras de Virulo han sido poco abordadas como fuentes primarias de investigación, casi nulas e invisibilizadas si se habla de sus primeros diez discos. Ello deja un vacío en investigaciones sobre los inicios de un cauce humorístico al interior de la Nueva Trova cubana. Por ello, es ineludible ahondar en las secciones integrantes del performance y en las características músico-textuales de sus lenguajes de ejecución. De igual manera, se debe profundizar en la información brindada por el performance sobre el contexto sociopolítico cubano, al ser analizado desde una perspectiva historiográfica. En el presente artículo se examinan las relaciones existentes entre música y humor al interior de La Historia de Cuba (1979), con énfasis en las formas en que Virulo empleó asideros de las culturas musicales para dar a conocer momentos determinados de la historia nacional. A su vez, se apuntan las posibilidades que ofrece dicho performance musical como fuente histórica para el estudio del pasado político y cultural cubano.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9c452a4e3f63514ddd869a84b8049892" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":68759066,"asset_id":50883519,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/68759066/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="50883519"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="50883519"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 50883519; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="41301360"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/41301360/Las_%C3%B3peras_El_saqueo_o_Los_franceses_en_Espa%C3%B1a_Madrid_1808_y_Los_dos_gemelos_o_Los_t%C3%ADos_burlados_Ciudad_de_M%C3%A9xico_1816_con_m%C3%BAsica_de_Manuel_Corral_canto_l%C3%ADrico_entre_la_frontera_independentista_espa%C3%B1ola_y_novohispana"><img alt="Research paper thumbnail of Las óperas El saqueo, o Los franceses en España (Madrid, 1808) y Los dos gemelos, o Los tíos burlados (Ciudad de México, 1816) con música de Manuel Corral: canto lírico entre la frontera independentista española y novohispana" class="work-thumbnail" src="https://attachments.academia-assets.com/61515288/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/41301360/Las_%C3%B3peras_El_saqueo_o_Los_franceses_en_Espa%C3%B1a_Madrid_1808_y_Los_dos_gemelos_o_Los_t%C3%ADos_burlados_Ciudad_de_M%C3%A9xico_1816_con_m%C3%BAsica_de_Manuel_Corral_canto_l%C3%ADrico_entre_la_frontera_independentista_espa%C3%B1ola_y_novohispana">Las óperas El saqueo, o Los franceses en España (Madrid, 1808) y Los dos gemelos, o Los tíos burlados (Ciudad de México, 1816) con música de Manuel Corral: canto lírico entre la frontera independentista española y novohispana</a></div><div class="wp-workCard_item"><span>La investigación en la División de Arquitectura, Arte y Diseño</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Las óperas El saqueo, o Los franceses en España, y Los dos gemelos, o Los tíos burlados, forman p...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Las óperas El saqueo, o Los franceses en España, y Los dos gemelos, o Los tíos burlados, forman parte del catálogo musical del compositor riojano Manuel Corral. Esta segunda, Los dos gemelos…, con libreto del poeta granadino Ramón Roca. El saqueo…, al parecer fue estrenado en Madrid en 1808, a raíz de la invasión napoleónica en España, de la cual se verifica sólo una reducción de la “Canción Patriótica” escrita para voz y piano, atesorada en los fondos de la Biblioteca Nacional de España. De Los dos gemelos…, los autores del presente trabajo localizaron el libreto íntegro en la Bancroft Library de la Universidad de California en Berkeley; así como la canción con acompañamiento de piano “No hay placer más grato en la tierra que el placer dichoso de amar” que aparece en El manuscrito de Mariana Vásques, ubicado en la Biblioteca de la otrora Escuela Nacional de Música de la UNAM. En el presente ensayo se presentan elementos literarios y musicales de las partituras referenciadas, así como el rol desempeñado en los procesos de independencia española y novohispana.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b8930637246f5d11780ef114f99af5ef" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61515288,"asset_id":41301360,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61515288/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41301360"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41301360"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41301360; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="profile--tab_heading_container js-section-heading" data-section="Papers" id="Papers"><h3 class="profile--tab_heading_container">Papers by Pablo Alejandro Suárez Marrero</h3></div><div class="js-work-strip profile--work_container" data-work-id="121856851"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/121856851/Contribuciones_te%C3%B3ricas_al_an%C3%A1lisis_performativo_de_los_lenguajes_de_ejecuci%C3%B3n_en_grabaciones_sonoro_musicales"><img alt="Research paper thumbnail of Contribuciones teóricas al análisis performativo de los lenguajes de ejecución en grabaciones sonoro-musicales" class="work-thumbnail" src="https://attachments.academia-assets.com/116639399/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/121856851/Contribuciones_te%C3%B3ricas_al_an%C3%A1lisis_performativo_de_los_lenguajes_de_ejecuci%C3%B3n_en_grabaciones_sonoro_musicales">Contribuciones teóricas al análisis performativo de los lenguajes de ejecución en grabaciones sonoro-musicales</a></div><div class="wp-workCard_item"><span>Nierika</span><span>, Jul 5, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">A más de cincuenta años de recorrido académico, los estudios de performance siguen siendo un ámbi...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">A más de cincuenta años de recorrido académico, los estudios de performance siguen siendo un ámbito innovador que demanda investigaciones interdisciplinarias. En ese sentido, una teorización sobre performance requiere de un proceso crítico y poético que permita abordar una expresión artística y, en este caso, grabaciones sonoro-musicales como proceso creativo, práctica social, acto del habla, evento o comportamiento. Esto ubica a los estudios de performance como un enfoque analítico de circunstancias artísticas cambiantes, en donde las prácticas musicales se convierten en excusas para cuestionar aspectos sociales situados en tiempo y lugar. El presente artículo busca entender a las grabaciones sonoro-musicales como medios culturales que han facilitado una capitalización de lo sonoro-efímero y performativo musical en una estructura material, dentro sus propias dinámicas de producción, organización y significado. En tanto objeto de estudio, dos son los atributos performativos que se pueden considerar en las grabaciones sonoro-musicales: como expresión cambiante en su devenir histórico y como acción perdurable mediante un documento. Entonces, los documentos de música grabada son considerados como un proceso abierto, conformado por momentos creativos y espacios sociales de consumo, generando una pluralidad textual a estudiar. En ese sentido, la escucha intermedial se convierte en un método empírico fundamental para analizar un objeto, sujeto y/o práctica sonoro-musical mediante la percepción y experiencia del analista. Para ello, se deben considerar diferentes planos analíticos, tipos del lenguaje y medios expresivos, que permitan una comprensión del performance estudiado, aun cuando ésta sea una abstracción teórica y reflejo activo de la grabación sonoro-musical.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="17161ce3d4a8f18eb99a90f7ff1efe94" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":116639399,"asset_id":121856851,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/116639399/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="121856851"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="121856851"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 121856851; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="115676968"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/115676968/Humor_y_Educaci%C3%B3n_en_Hispanoam%C3%A9rica_Una_Revisi%C3%B3n_Bibliogr%C3%A1fica_1998_2022_"><img alt="Research paper thumbnail of Humor y Educación en Hispanoamérica: Una Revisión Bibliográfica (1998-2022)" class="work-thumbnail" src="https://attachments.academia-assets.com/112017897/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/115676968/Humor_y_Educaci%C3%B3n_en_Hispanoam%C3%A9rica_Una_Revisi%C3%B3n_Bibliogr%C3%A1fica_1998_2022_">Humor y Educación en Hispanoamérica: Una Revisión Bibliográfica (1998-2022)</a></div><div class="wp-workCard_item"><span>Revista Internacional del Arte en la Sociedad</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En este artículo se realiza una revisión de publicaciones académicas que abordan las relaciones e...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En este artículo se realiza una revisión de publicaciones académicas que abordan las relaciones entre el humor y la educación en Hispanoamérica (1998-2022). La presente investigación tuvo como objetivos la construcción de un estado del conocimiento previo sobre el tema, identificación de los autores más destacados en el campo y obtención de información relevante sobre las tendencias epistemológicas. Para llevar a cabo este proceso, se empleó una metodología basada en la revisión sistemática de la literatura, centrado en su rigurosidad y funciones operativas. Tras analizar cerca de treinta documentos, entre artículos académicos, tesis, actas de congresos, capítulos de libros y monografías, los resultados revelaron la existencia de un amplio corpus de conocimiento teórico y empírico sobre las implicaciones del humor en los procesos de enseñanza-aprendizaje. Este conocimiento se centra en las influencias positivas y los beneficios obtenidos al incorporar el humor en la práctica docente en los diferentes niveles educativos. Sin embargo, también se documentó un cambio reciente en la mirada epistémica, que buscó examinar las posibles repercusiones negativas y generadoras de violencia de las expresiones humorísticas en el ámbito educativo, así como la necesidad de incluir una perspectiva de género en el trabajo de campo. En cualquier caso, se vislumbra una creciente necesidad de llevar a cabo investigaciones situadas en otras instituciones y países de la región, a fin de contrastar los resultados mencionados.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f8c65929202bf0b1dc9353fb7ac9dd56" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":112017897,"asset_id":115676968,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/112017897/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="115676968"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="115676968"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 115676968; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="87814872"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/87814872/Hacia_un_modelo_de_gesti%C3%B3n_para_el_patrimonio_hist%C3%B3rico_documental_de_la_m%C3%BAsica_en_Cuba"><img alt="Research paper thumbnail of Hacia un modelo de gestión para el patrimonio histórico-documental de la música en Cuba" class="work-thumbnail" src="https://attachments.academia-assets.com/91926507/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/87814872/Hacia_un_modelo_de_gesti%C3%B3n_para_el_patrimonio_hist%C3%B3rico_documental_de_la_m%C3%BAsica_en_Cuba">Hacia un modelo de gestión para el patrimonio histórico-documental de la música en Cuba</a></div><div class="wp-workCard_item"><span>El Sincopado Habanero</span><span>, Oct 3, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En Cuba, los documentos relativos a las prácticas musicales constituyen testimonios materiales de...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En Cuba, los documentos relativos a las prácticas musicales constituyen testimonios materiales del desarrollo alcanzado por las diversas corrientes estéticas, técnicas e ideológicas, que se sucedieron a lo largo de la historia nacional, provincial, regional, municipal y/o local. Sin embargo, se carece de un término operativo para designar aquello que debe constituir el patrimonio histórico-documental de la música en el archipiélago caribeño. De igual forma, se requiere una normativa propia para dicha tipología documental de la música y una sistematización de las labores de rescate y salvaguarda del patrimonio musical cubano. En el presente artículo se enuncia un modelo de gestión, que atiende a las particularidades documentales, informativas y cognoscitivas de dicha herencia sonora registrada en soportes documentales. Bajo ese tenor, se puntualiza en las labores de localización, identificación, inventario, catalogación, digitalización, estudios y difusión, como acciones que integran un proceso planificado, organizado, dirigido y controlado, que salvaguarde dichos bienes documentales en beneficio de generaciones presentes y futuras. Esta propuesta metodológica pretende ser un pequeño aporte a la investigación, protección y conservación del patrimonio histórico- documental de las músicas en Cuba; solo viable mediante su constatación con el quehacer diario de los gestores de dichos bienes culturales.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="567e15fe992e7c5b81230466bd9fc5be" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":91926507,"asset_id":87814872,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/91926507/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="87814872"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="87814872"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 87814872; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="86413036"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/86413036/Itinerarios_de_la_gesti%C3%B3n_del_patrimonio_hist%C3%B3rico_documental_de_la_m%C3%BAsica_en_Cuba"><img alt="Research paper thumbnail of Itinerarios de la gestión del patrimonio histórico-documental de la música en Cuba" class="work-thumbnail" src="https://attachments.academia-assets.com/90872583/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/86413036/Itinerarios_de_la_gesti%C3%B3n_del_patrimonio_hist%C3%B3rico_documental_de_la_m%C3%BAsica_en_Cuba">Itinerarios de la gestión del patrimonio histórico-documental de la música en Cuba</a></div><div class="wp-workCard_item"><span> Intus - Legere Historia</span><span>, Sep 5, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En Cuba, la mayoría de los estudios sobre el patrimonio musical abordan las expresiones músico-da...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En Cuba, la mayoría de los estudios sobre el patrimonio musical abordan las expresiones músico-dancísticas que forman parte del patrimonio inmaterial del país. Pero igual importancia deben poseer los documentos relativos a la práctica musical en la nación, de los cuáles se carece de un término operativo y legislación que aseguren su gestión. Ello limita las acciones de rescate de las que debe ser objeto primo, siendo pertinente recorrer los itinerarios de gestión seguidos por el Gabinete de Patrimonio Musical Esteban Salas, el Centro de Investigación y Desarrollo de la Música Cubana, así como el Museo Nacional de la Música; tres de las más importantes instituciones cubanas abocadas al rescate del patrimonio histórico-documental de la música en la nación. De esta forma, se busca asegurar su salvaguarda en beneficio de las generaciones presentes y futuras.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="484f87bcb43a3bffacb6037bda37c133" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":90872583,"asset_id":86413036,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/90872583/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="86413036"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="86413036"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 86413036; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="83927499"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/83927499/M%C3%BAsica_humor_y_transgresi%C3%B3n_social_en_el_performance_de_Alejandro_Garc%C3%ADa_Villal%C3%B3n_Virulo_en_el_TrovaFest_Quer%C3%A9taro_2019_"><img alt="Research paper thumbnail of Música, humor y transgresión social en el performance de Alejandro García Villalón "Virulo" en el TrovaFest (Querétaro, 2019)" class="work-thumbnail" src="https://attachments.academia-assets.com/89117430/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/83927499/M%C3%BAsica_humor_y_transgresi%C3%B3n_social_en_el_performance_de_Alejandro_Garc%C3%ADa_Villal%C3%B3n_Virulo_en_el_TrovaFest_Quer%C3%A9taro_2019_">Música, humor y transgresión social en el performance de Alejandro García Villalón "Virulo" en el TrovaFest (Querétaro, 2019)</a></div><div class="wp-workCard_item"><span>HArtes</span><span>, Jul 27, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">El sábado 07 de diciembre de 2019, Alejandro García Villalón “Virulo” se presentó en la Plaza Fun...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">El sábado 07 de diciembre de 2019, Alejandro García Villalón “Virulo” se presentó en la Plaza Fundadores de la ciudad de Querétaro, como parte de las actividades programadas dentro del TrovaFest 2019. Este cantautor cubano-mexicano recurrió a su acervo compositivo para estructurar un performance músico-humorístico particular, situado en tiempo y lugar. Al considerar los pocos estudios existentes sobre sus composiciones performativas, para la presente ponencia se recurrió a una grabación sonora en vivo del evento musical, a la segmentación del performance estudiado, al análisis de sus lenguajes de ejecución y a una interpretación crítica de los datos hallados durante el trabajo de campo. La triangulación de los resultados condujo a la construcción de imágenes sonoro-musicales relacionadas con un humor paródico y socialmente transgresor. Para este acercamiento se recurrió a herramientas metodológicas provenientes de la etnomusicología, con énfasis en la escucha analítica del soporte grabado, el análisis musical del performance y los estudios de música popular. Esta ponencia busca contribuir a un mejor entendimiento de los discursos humorísticos al interior de expresiones musicales específicas, en tanto entrona a las grabaciones sonoras como performances, espacios intermediales entendibles desde lo fenomenológico y hermenéutico.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a0f82a930f8ba9b6c75160f59365d8db" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":89117430,"asset_id":83927499,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/89117430/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="83927499"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="83927499"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 83927499; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="81169626"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/81169626/Las_portadas_de_El_Sincopado_Habanero_2016_2021_como_documentos_iconogr%C3%A1fico_musicales"><img alt="Research paper thumbnail of Las portadas de El Sincopado Habanero (2016-2021) como documentos iconográfico-musicales" class="work-thumbnail" src="https://attachments.academia-assets.com/91932022/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/81169626/Las_portadas_de_El_Sincopado_Habanero_2016_2021_como_documentos_iconogr%C3%A1fico_musicales">Las portadas de El Sincopado Habanero (2016-2021) como documentos iconográfico-musicales</a></div><div class="wp-workCard_item"><span>El Sincopado Habanero</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En el presente artículo, se abordan las portadas de El Sincopado Habanero (2016-2021) como fuente...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En el presente artículo, se abordan las portadas de El Sincopado Habanero (2016-2021) como fuentes iconográfico-musicales. Al ser este un primer acercamiento documental, informativo y cognoscitivo, se profundiza en aquellos aspectos contextuales, sociales y culturales que condicionan sus existencias en escenas musicales situadas en instituciones culturales. En ese sentido, las portadas son tomadas como dispositivos de enunciación, donde convergen elementos visuales, musicales y textuales, cuyos significados son abordados mediante la implementación de métodos iconográficos, provenientes de la tradición investigativa de la música. De tal forma, se profundiza en las implicaciones iconológico-musicales de una muestra de portadas, abriendo el camino para futuros trabajos, en los cuales se relacionen la iconografía musical, los documentos efímeros y las expresiones culturales.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="76fc53da55385c11eff421ff7e5308a4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":91932022,"asset_id":81169626,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/91932022/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="81169626"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="81169626"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 81169626; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="41442585"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/41442585/M%C3%BAsica_humor_y_cr%C3%ADtica_social_en_el_performance_Buena_Risa_Social_Club_Le%C3%B3n_de_Los_Aldama_2018_de_Alejandro_Garc%C3%ADa_Villal%C3%B3n_Virulo_"><img alt="Research paper thumbnail of Música, humor y crítica social en el performance "Buena Risa Social Club" (León de Los Aldama, 2018) de Alejandro García Villalón "Virulo"" class="work-thumbnail" src="https://attachments.academia-assets.com/61619776/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/41442585/M%C3%BAsica_humor_y_cr%C3%ADtica_social_en_el_performance_Buena_Risa_Social_Club_Le%C3%B3n_de_Los_Aldama_2018_de_Alejandro_Garc%C3%ADa_Villal%C3%B3n_Virulo_">Música, humor y crítica social en el performance "Buena Risa Social Club" (León de Los Aldama, 2018) de Alejandro García Villalón "Virulo"</a></div><div class="wp-workCard_item"><span>Middle Atlantic Review of Latin American Studies</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Buena Risa Social Club es un performance humorístico-musical del cantautor cubano-mexicano Alejan...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Buena Risa Social Club es un performance humorístico-musical del cantautor cubano-mexicano Alejandro García Villalón “Virulo”, quién lo presentó en el Café Antropía (León de Los Aldama, Guanajuato, México) el 30 de noviembre de 2018. Al tener en cuenta los pocos estudios realizados sobre sus composiciones performativas, para la presente comunicación se recurrió a una grabación sonora en vivo del evento musical, a la segmentación del espectáculo estudiado, al análisis del lenguaje de ejecución (música y texto) y a una interpretación de los datos obtenidos durante el trabajo de campo. Para este acercamiento se recurrió a herramientas metodológicas de la etnomusicología del performance, en su vínculo con la fenomenología y la hermenéutica. Ello permitió entender los mecanismos creativos empleados por “Virulo” para ejercer subjetivamente una crítica a la realidad social imperante en Cuba, México y Estados Unidos, desde una perspectiva situada.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="36f3e50022a58cad661f0067b2c198d9" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61619776,"asset_id":41442585,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61619776/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41442585"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41442585"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41442585; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="39314367"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/39314367/Momentos_sociol%C3%B3gicos_en_el_performance_musical_El_humor_en_estos_tiempos_da_c%C3%B3lera_ca_1986_de_Alejandro_Garc%C3%ADa_Villal%C3%B3n_Virulo_"><img alt="Research paper thumbnail of Momentos sociológicos en el performance musical “El humor en estos tiempos da cólera” (ca. 1986) de Alejandro García Villalón "Virulo"" class="work-thumbnail" src="https://attachments.academia-assets.com/59452674/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/39314367/Momentos_sociol%C3%B3gicos_en_el_performance_musical_El_humor_en_estos_tiempos_da_c%C3%B3lera_ca_1986_de_Alejandro_Garc%C3%ADa_Villal%C3%B3n_Virulo_">Momentos sociológicos en el performance musical “El humor en estos tiempos da cólera” (ca. 1986) de Alejandro García Villalón "Virulo"</a></div><div class="wp-workCard_item"><span>De Raíz Diversa, Revista Especializada en Estudios Latinoamericanos</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">“El humor en estos tiempos da cólera” (ca. 1986) es uno de los performances que escribió, musical...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">“El humor en estos tiempos da cólera” (ca. 1986) es uno de los performances que escribió, musicalizó y dirigió el cantautor Alejandro García Villalón Virulo para el Conjunto Nacional de Espectáculos de Cuba. De éste se conserva una adaptación televisiva del Instituto Cubano de Radio y Televisión, que no ha sido abordada en investigaciones precedentes. Según consta, en dicho espectáculo se ofrecen algunos momentos sociológicos de la realidad cubana del siglo XX. Este performance constituye un documento valioso para deconstruir lo socialmente narrado y descrito a manera de videoclips, en tanto asideros creativos del cantautor. Con la implementación de una metodología analítica existente para el video musical, se determinaron las formas estructurales de las composiciones performativas, identificaron los recursos audiovisuales empleados para lograr un humorismo musical subjetivo, y argumentaron aquellos momentos sociológicos identificados. Esta investigación contribuye a una mayor relación interdisciplinaria entre la musicología y otras disciplinas socio-humanísticas.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="374ba59c5f50183a72e6b2efc8922a90" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":59452674,"asset_id":39314367,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/59452674/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39314367"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39314367"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39314367; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="38070665"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/38070665/El_G%C3%A9nesis_Seg%C3%BAn_Virulo_2001_de_Alejandro_Garc%C3%ADa_Villal%C3%B3n_como_performance_humor%C3%ADstico_de_intertextualidad_literaria_musical"><img alt="Research paper thumbnail of El "Génesis Según Virulo" (2001) de Alejandro García Villalón como performance humorístico de intertextualidad literaria-musical" class="work-thumbnail" src="https://attachments.academia-assets.com/58117588/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38070665/El_G%C3%A9nesis_Seg%C3%BAn_Virulo_2001_de_Alejandro_Garc%C3%ADa_Villal%C3%B3n_como_performance_humor%C3%ADstico_de_intertextualidad_literaria_musical">El "Génesis Según Virulo" (2001) de Alejandro García Villalón como performance humorístico de intertextualidad literaria-musical</a></div><div class="wp-workCard_item"><span>AV Notas, Revista de Investigación Musical del CSM de Jaén</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La pluralidad discursiva manifiesta en la música cubana se ha encontrado enmarcada en una realida...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La pluralidad discursiva manifiesta en la música cubana se ha encontrado enmarcada en una realidad estético-musical cambiante, causada por una postmodernidad social cada vez más abierta a la globalización de las expresiones culturales de los pueblos. Es dentro de esta dinámica creativa que se encontraron inmersos los performances musicales del cantautor Alejandro García Villalón, quien satirizó y criticó los contextos históricos y socioculturales generadores. La casi nula existencia de estudios académicos sobre la cancionística de dicho autor brindó un diapasón de oportunidades para deconstruir sus espacios creativos, identificar sus particularidades expresivas, así como entender los mecanismos e intertextualidades empleadas en la construcción de su discurso literario-musical. En este particular, para la reinterpretación del Génesis bíblico, primer libro del Antiguo Testamento. Ello fue posible con instrumentales pertenecientes a la musicología latinoamericana y popular, fundamentalmente mediante una escucha analítica de sus soportes de difusión, entronando los documentos sonoros de música grabada como fuentes primarias de información en recientes pesquisas especializadas. La presente investigación condujo a pequeños aportes sobre la construcción de realidades musicales alternas, conformadas por identidades digitalmente colectivas, cuyos vínculos se pudieron establecer mediante patrones de consumo de performances específicos.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5a2c449b7539f43d458c7968e5c5cb82" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58117588,"asset_id":38070665,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58117588/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38070665"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38070665"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38070665; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="36860614"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/36860614/Algunas_consideraciones_anal%C3%ADticas_sobre_el_performance_musical"><img alt="Research paper thumbnail of Algunas consideraciones analíticas sobre el performance musical" class="work-thumbnail" src="https://attachments.academia-assets.com/57059105/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/36860614/Algunas_consideraciones_anal%C3%ADticas_sobre_el_performance_musical">Algunas consideraciones analíticas sobre el performance musical</a></div><div class="wp-workCard_item"><span>Estudios Artísticos: revista de investigación creadora de la Facultad de Artes-ASAB</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Con el presente trabajo se busca allanar la zanja que existe entre los abordajes tradicionales de...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Con el presente trabajo se busca allanar la zanja que existe entre los abordajes tradicionales del discurso musical y los estudios de performance. Para la realización de investigaciones artísticas sobre performances musicales se debe tener en cuenta dicha expresión como subjetividad cambiante a lo largo de su devenir histórico, construido en las diversas “formas de hacer” que la da a conocer; y como objeto que perdura y es cognoscible a través de la escucha analítica de sus soportes de difusión. Entonces, para el abordaje crítico de los performances musicales resulta importante la triangulación de los resultados provenientes de diferentes estrategias analíticas, con los cuales se deconstruiría un todo único, divisible sólo a nivel epistemológico pero indivisible como forma particular de producción subjetiva. Esto redunda en las relaciones de condicionamiento mutuo existentes entre las expresiones artísticas y su marco generador, así como su uso en la conformación de un discurso performativo propio.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="25d2dcffc288e7b4a82cb7e457200c8a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57059105,"asset_id":36860614,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57059105/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="36860614"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="36860614"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36860614; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="42951434"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/42951434/Patrimonio_hist%C3%B3rico_documental_de_la_m%C3%BAsica_en_Cuba_conceptualizaci%C3%B3n_del_t%C3%A9rmino_y_su_necesidad_de_gesti%C3%B3n"><img alt="Research paper thumbnail of Patrimonio histórico-documental de la música en Cuba: conceptualización del término y su necesidad de gestión" class="work-thumbnail" src="https://attachments.academia-assets.com/63207636/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/42951434/Patrimonio_hist%C3%B3rico_documental_de_la_m%C3%BAsica_en_Cuba_conceptualizaci%C3%B3n_del_t%C3%A9rmino_y_su_necesidad_de_gesti%C3%B3n">Patrimonio histórico-documental de la música en Cuba: conceptualización del término y su necesidad de gestión</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://unam.academia.edu/PabloAlejandroSu%C3%A1rezMarrero">Pablo Alejandro Suárez Marrero</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://havanauniversity.academia.edu/MiriamEscuderoSuastegui">Miriam Escudero Suastegui</a></span></div><div class="wp-workCard_item"><span>Música e Investigación</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En Cuba, la mayoría de los estudios sobre patrimonio musical han estado centrados en las expresio...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En Cuba, la mayoría de los estudios sobre patrimonio musical han estado centrados en las expresiones músico-danzarias que constituyen el patrimonio inmaterial del país. Igual de importantes son los documentos relativos a la práctica musical en la nación, puesto que constituyen el testimonio material del desarrollo alcanzado por las diversas corrientes estéticas, técnicas e ideológico-musicales que se sucedieron a lo largo de la historia. En la actualidad no existe un término operativo para designar aquello que debe constituir el patrimonio histórico-documental de la música en Cuba, lo que representa una limitación de las acciones de gestión, de las que el patrimonio debe ser objeto primo. Es por ello pertinente recorrer lo dicho al respecto por especialistas para la conceptualización de un término adecuado, así como también será de utilidad abordar las generalidades del marco legal internacional y nacional existente pero insuficiente. Para gestionar el patrimonio histórico-documental de la música en Cuba se requiere investigarlo, protegerlo, conservarlo y difundirlo, de forma que se asegure su salvaguarda en beneficio de las generaciones presentes y futuras.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1c61afd13c73126f0d48289e0ec8b891" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":63207636,"asset_id":42951434,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/63207636/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="42951434"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="42951434"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42951434; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="17349303" id="books"><div class="js-work-strip profile--work_container" data-work-id="123974698"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/123974698/_Para_poder_componer_Una_biograf%C3%ADa_sonora_sobre_Alejandro_Garc%C3%ADa_Villal%C3%B3n_Virulo_1955_2008_PORTADA"><img alt="Research paper thumbnail of "Para poder componer…": Una biografía sonora sobre Alejandro García Villalón 'Virulo' (1955-2008) - PORTADA" class="work-thumbnail" src="https://attachments.academia-assets.com/118287109/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/123974698/_Para_poder_componer_Una_biograf%C3%ADa_sonora_sobre_Alejandro_Garc%C3%ADa_Villal%C3%B3n_Virulo_1955_2008_PORTADA">"Para poder componer…": Una biografía sonora sobre Alejandro García Villalón 'Virulo' (1955-2008) - PORTADA</a></div><div class="wp-workCard_item"><span>Vernon Press</span><span>, 2025</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La pluralidad discursiva manifiesta en la actual música popular se encuentra enmarcada en una rea...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La pluralidad discursiva manifiesta en la actual música popular se encuentra enmarcada en una realidad estético-musical cambiante, causada por una postmodernidad social cada vez más abierta a la globalización de las expresiones culturales de los pueblos. Es dentro de esta dinámica social que emerge la figura creativa de Alejandro García Villalón Virulo y sus grabaciones sonoras (1973-2021). En estas, el cantautor empleó disímiles recursos musicales, literarios, escénicos y visuales para ejercer la crítica sobre sus contextos germinales, como vía desacralizadora de culturas hegemónicas y paradigmas sociales construidos a lo largo del devenir histórico de los pueblos de la región. La casi nula existencia de estudios académicos sobre este artista y sus documentos sonoros constituye una oportunidad para construir su biografía sonora como contexto de performance (1955-2008), donde se imbricaron elementos históricos, políticos, sociales y culturales condicionados por marcos temporales y espacios geográficos. Para ello, se concatenaron herramientas teóricas, conceptuales y metodológicas provenientes de los estudios de performance, la historiografía crítica y la musicología popular. La presente investigación conduce a repensar las relaciones entre música y humor en culturas musicales de América Latina y el Caribe, la concepción de la biografía sonora de un cantautor como aproximación a su contexto germinal, así como el abordaje de los documentos de música grabada o programada como fuentes primarias de información para estudios sociales de prácticas sonoro-musicales situadas.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2e6ef7f12d888d5375498ef7f6eb3e4f" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":118287109,"asset_id":123974698,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/118287109/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="123974698"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="123974698"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 123974698; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="108313694"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/108313694/Estudios_sobre_m%C3%BAsicas_populares_en_M%C3%A9xico_I_PRELIMINARES"><img alt="Research paper thumbnail of Estudios sobre músicas populares en México I - PRELIMINARES" class="work-thumbnail" src="https://attachments.academia-assets.com/121493659/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/108313694/Estudios_sobre_m%C3%BAsicas_populares_en_M%C3%A9xico_I_PRELIMINARES">Estudios sobre músicas populares en México I - PRELIMINARES</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://unam.academia.edu/PabloAlejandroSu%C3%A1rezMarrero">Pablo Alejandro Suárez Marrero</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://enah.academia.edu/LilianaJamaicaSilva">Liliana Jamaica Silva</a></span></div><div class="wp-workCard_item"><span>Son de Papel Editorial</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Estudios sobre músicas populares en México I constituye el primer volumen de la colección creada ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Estudios sobre músicas populares en México I constituye el primer volumen de la colección creada por la Editorial Son de Papel para difundir conocimientos críticos en torno a las músicas populares que tienen presencia en territorio mexicano. Si bien la información acá contenida tiene sus orígenes en reflexiones académicas suscitadas en el marco del 1er Congreso de Músicas Populares en México (San Luis Potosí, 2022), cada capítulo constituye un espacio reflexivo independiente sobre una práctica musical específica, cuya caracterización se nutre de los estilos que se han adaptado a circunstancias socioculturales presentes en la nación. El libro consta de siete capítulos, ilustrativos de los disímiles caminos recorridos por los estudios sobre músicas populares como campo multidisciplinario de conocimiento académico en México. En varias partes del volumen se enfatiza en el origen de las músicas populares como parte de expresiones tradicionales de alcance local o regional, defendiéndose el trabajo etnográfico en las sociedades depositarias de dichas prácticas. Por otro lado, en otras partes se apuntan hacia los procesos de modernización, mediatización y masificación de las músicas populares, como forma de acercarlas a las personas que las practican, consumen y construyen en espacios urbanos de socialización. Sin dudas, el trabajo de las personas autoras de este primer conjunto de investigaciones abona, cabal y profesionalmente, a la exploración, descripción, análisis e interpretación del complejo estado de la cultura sonoro-musical que ha caracterizado, desde siempre, a nuestro país. Esperamos que este primer volumen de la colección sirva de apertura, profesionalización y continuidad a una ingente labor editorial y de investigación sobre las músicas populares en México.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="bfaa2b35222c1254c3f5fe723cb76d6d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":121493659,"asset_id":108313694,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/121493659/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="108313694"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="108313694"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 108313694; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="98690809"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/98690809/Escenas_Diversas_Drama_Humor_y_M%C3%BAsica_PORTADA_PREFACIO_and_PLAYLIST"><img alt="Research paper thumbnail of Escenas Diversas: Drama, Humor y Música - PORTADA, PREFACIO & PLAYLIST" class="work-thumbnail" src="https://attachments.academia-assets.com/100404920/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/98690809/Escenas_Diversas_Drama_Humor_y_M%C3%BAsica_PORTADA_PREFACIO_and_PLAYLIST">Escenas Diversas: Drama, Humor y Música - PORTADA, PREFACIO & PLAYLIST</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://unam.academia.edu/PabloAlejandroSu%C3%A1rezMarrero">Pablo Alejandro Suárez Marrero</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://ugto.academia.edu/AlfredoHern%C3%A1ndez">Alfredo Hernández Cadena</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unam1.academia.edu/MarusiaPolaMayorga">Marusia Pola Mayorga</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://antioquia.academia.edu/LauraErazo">Laura Erazo</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uncoma.academia.edu/MFlores">Marta Flores</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://unam.academia.edu/RenierGarnier">Renier Garnier</a></span></div><div class="wp-workCard_item"><span>Vernon Press</span><span>, Apr 4, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En el presente libro colectivo se apuesta por la diversidad de las escenas musicales como una de ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En el presente libro colectivo se apuesta por la diversidad de las escenas musicales como una de sus mayores fortalezas en el ámbito iberoamericano. De esa forma, el concepto de escenas se convierte en un ámbito discursivo oportuno para construir aproximaciones dinámicas y flexibles a las regiones desde sus quehaceres musicales, ya sea en el pasado histórico o en el accionar reciente. De ese modo, se busca contribuir a los actuales debates sobre las escenas musicales desde su propia diversidad, asociada a elementos discursivos propios del drama social y el humor inteligente. Para ello, se propone un recorrido casuístico y diacrónico por ejemplos particularizados sobre prácticas musicales que se gestaron en localidades propias de Iberoamérica, desde finales del siglo XIX y hasta la actualidad. Este volumen constituye un compendio de estudios sobre prácticas musicales acontecidas en ciudades de España, Argentina, México, Cuba, Venezuela y Colombia. Desde su individualidad, en cada capítulo se busca conciliar una mirada histórica a pasadas escenas y su pervivencia en documentos musicales de diversa índole: partituras, grabaciones sonoras, exponentes iconográficos, medios de difusión y materiales audiovisuales. Además, se aborda la creciente virtualización y desterritorialización física de las escenas musicales regionales en aras de un deseado alcance glocal, a raíz de la situación pandémica causada por el Covid-19. Sin duda, considero que esta obra editorial puede contribuir a revivir pretéritos debates sobre nuestras escenas musicales, así como la creación de nuevas y múltiples instancias comunicativas para la socialización de conocimientos especializados relacionados con prácticas sonoro-musicales en sociedad, con amplio respeto a su propia diversidad germinal y expresiva. <br /> <br />Lista de reproducción con músicas referidas a lo largo del libro: <a href="https://open.spotify.com/playlist/4E7LSgy2CuBHH5YjkY2Puj?si=49e5c22a706143a8" rel="nofollow">https://open.spotify.com/playlist/4E7LSgy2CuBHH5YjkY2Puj?si=49e5c22a706143a8</a> <br /> <br />Por tiempo limitado, está disponible con un 24% descuento en <a href="https://vernonpress.com/book/1667" rel="nofollow">https://vernonpress.com/book/1667</a>, usando el código CFC11264336C3.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e00934a96f6843a1942821125d57096f" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":100404920,"asset_id":98690809,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/100404920/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="98690809"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="98690809"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 98690809; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="14322666" id="chapters"><div class="js-work-strip profile--work_container" data-work-id="122464155"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/122464155/_Y_no_es_machismo_performatividades_de_g%C3%A9nero_en_la_lista_de_reproducci%C3%B3n_Los_TiGLESS_YouTube_2017_"><img alt="Research paper thumbnail of "Y no es machismo...": performatividades de género en la lista de reproducción Los TiGLESS (YouTube, 2017)" class="work-thumbnail" src="https://attachments.academia-assets.com/117122252/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/122464155/_Y_no_es_machismo_performatividades_de_g%C3%A9nero_en_la_lista_de_reproducci%C3%B3n_Los_TiGLESS_YouTube_2017_">"Y no es machismo...": performatividades de género en la lista de reproducción Los TiGLESS (YouTube, 2017)</a></div><div class="wp-workCard_item"><span>Humanidades e Ciências Sociais: Perspectivas Teóricas, Metodológicas e de Investigação V</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Los TiGLESS es una lista de reproducción creada por Los Tres Tristes Tigres y Gilberto Gless en Y...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Los TiGLESS es una lista de reproducción creada por Los Tres Tristes Tigres y Gilberto Gless en YouTube (2017), integrada por cuatro parodias musicales de canciones representativas del ámbito popular en México. Dichos documentos audiovisuales permiten acceder a formas creativas de proponer nuevas performatividades de género para lo macho, varón y masculino en el país. Por lo que, en este artículo se cuestionan las músicas populares, discursos textuales y corporalidades que se entrelazan en dichas composiciones performativas, para deconstruir aspectos sociales de las masculinidades hegemónicas. Para ello, se acuden a los modos en que se expresan, transmiten y reproducen patrones culturales de género, así como las formas en que sus consumidores percibe dichos estereotipos sociales.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4ed8493cc95314b6127b2441ec57c2ac" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":117122252,"asset_id":122464155,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/117122252/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="122464155"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="122464155"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 122464155; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="109533301"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/109533301/Los_Tres_Tristes_Tigres_y_sus_performances_para_campa%C3%B1as_publicitarias_2016_2022_un_an%C3%A1lisis_m%C3%BAsico_audiovisual"><img alt="Research paper thumbnail of Los Tres Tristes Tigres y sus performances para campañas publicitarias (2016-2022): un análisis músico-audiovisual" class="work-thumbnail" src="https://attachments.academia-assets.com/107630038/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/109533301/Los_Tres_Tristes_Tigres_y_sus_performances_para_campa%C3%B1as_publicitarias_2016_2022_un_an%C3%A1lisis_m%C3%BAsico_audiovisual">Los Tres Tristes Tigres y sus performances para campañas publicitarias (2016-2022): un análisis músico-audiovisual</a></div><div class="wp-workCard_item"><span>Estudios sobre músicas populares en México I </span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Según consta en su canal oficial en YouTube: “Los Tres Tristes Tigres es un trío de comedia music...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Según consta en su canal oficial en YouTube: “Los Tres Tristes Tigres es un trío de comedia musical cuyo espectáculo consiste en canciones originales y parodias precedidas por preámbulos divertidos, monólogos y rutinas” (2008). Esta agrupación regiomontana está conformada por Pedro Palacios (guitarra y primera voz), Erick Ibarra (bajo y segunda voz) y Jesús Gallardo (acordeón, iPad y tercera voz). Hasta el momento, en el mencionado sitio web alojan 531 materiales audiovisuales (espectáculos completos o fragmentados, videoclips, stand up, colaboraciones con otros artistas y entrevistas), con más de 2,5 millones de seguidores y 647 millones de visitas únicas. En los últimos seis años, Los Tres Tristes Tigres también han participado en campañas publicitarias de alcance nacional, donde enarbolan el sonido característico de una dotación instrumental que simula al tradicional conjunto norteño. Con la gestión de Damara Félix y Ecléctica Producciones, este trío se ha convertido en un abanderado de la comedia musical en México, movimiento artístico-cultural al que se suman otras agrupaciones como Pacotilla (2017) y El Mariachillo (2021). Sin embargo, hasta el momento son nulas las investigaciones académicas sobre dicho ensamble, las posibles relaciones entre los discursos musicales, textuales y humorísticos manifiestos en sus documentos audiovisuales, así como sus implicaciones socioculturales para las músicas populares del país. A partir de estos vacíos epistémicos, es necesario realizar un primer acercamiento a sus catorce performances para campañas publicitarias, como vía para acceder a conocimientos sobre las formas en que las compañías emplean determinadas músicas populares con fines comerciales y las razones para ello. Si bien los estudios sobre música y publicidad se encuentran en un estadio caracterizado por un incipiente interés académico, su poco desarrollo teórico y fragmentación metodológica (Sánchez y Viñuela, 2017), para este trabajo se asume la propuesta de análisis músico-audiovisual de Virginia Sánchez (2015). Esta herramienta analítica permite profundizar en el origen y finalidad social de la música empleada en las campañas publicitarias, la fuente de emisión de los sonidos y su grado de sincronización con la imagen, su articulación conceptual con el mensaje comercial y las funciones que posee la música en el audiovisual resultante. Desde una perspectiva que integra saberes musicológicos, de marketing y comunicación, en la presente investigación se consideran las particularidades del contexto actual, caracterizado por convergencias entre culturas participativas y narrativas transmedia. Bajo ese tenor, Los Tres Tristes Tigres ocupan un nicho del mercado de comedias en vivo con énfasis en la música y lo popular, aspectos considerados por disímiles compañías nacionales para promocionar productos comerciales y servicios financieros en México.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c40ad49d8d15e5a8c3816dc19c75d209" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":107630038,"asset_id":109533301,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/107630038/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="109533301"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="109533301"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 109533301; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="99527986"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/99527986/_Se_acab%C3%B3_Agencia_sociopol%C3%ADtica_y_gesto_multimodal_en_el_videoclip_cubano_Patria_y_Vida_2021_"><img alt="Research paper thumbnail of ¡Se acabó! Agencia sociopolítica y gesto multimodal en el videoclip cubano "Patria y Vida" (2021)" class="work-thumbnail" src="https://attachments.academia-assets.com/100840790/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/99527986/_Se_acab%C3%B3_Agencia_sociopol%C3%ADtica_y_gesto_multimodal_en_el_videoclip_cubano_Patria_y_Vida_2021_">¡Se acabó! Agencia sociopolítica y gesto multimodal en el videoclip cubano "Patria y Vida" (2021)</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://unam.academia.edu/PabloAlejandroSu%C3%A1rezMarrero">Pablo Alejandro Suárez Marrero</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://unam.academia.edu/RenierGarnier">Renier Garnier</a></span></div><div class="wp-workCard_item"><span>Escenas Diversas: Drama, Humor y Música</span><span>, Apr 4, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En este artículo trazamos redes interpretativas entre los discursos en la esfera pública, las sub...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En este artículo trazamos redes interpretativas entre los discursos en la esfera pública, las subjetividades creativas y la extextualización audiovisual en torno al videoclip Patria y Vida, realizado por Asiel Babastro, para la canción homónima interpretada por Yotuel Romero, el dúo Gente de Zona, Descemer Bueno, Maykel Osorbo y El Funky. El contexto germinal convulso en el que se inserta el audiovisual, su singularidad morfológico-connotativa y su alto impacto, requiere indagar sobre el modo en el que la materialidad audiovisual y las redes simbólicas compartidas por creadores y públicos articulan saberes, metáforas y agencia sociopolítica. Como resultado, comprobamos que Patria y Vida se sostiene sobre códigos relacionados con el videoclip nacional, que en su interrelación multimodal interpelan y movilizan a la esfera pública en el marco de la pugna por el poder simbólico y político de la Cuba actual.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="cd20fcea09168eeb0b626352a2c6a213" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":100840790,"asset_id":99527986,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/100840790/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="99527986"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="99527986"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 99527986; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=99527986]").text(description); $(".js-view-count[data-work-id=99527986]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 99527986; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='99527986']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "cd20fcea09168eeb0b626352a2c6a213" } } $('.js-work-strip[data-work-id=99527986]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":99527986,"title":"¡Se acabó! Agencia sociopolítica y gesto multimodal en el videoclip cubano \"Patria y Vida\" (2021)","internal_url":"https://www.academia.edu/99527986/_Se_acab%C3%B3_Agencia_sociopol%C3%ADtica_y_gesto_multimodal_en_el_videoclip_cubano_Patria_y_Vida_2021_","owner_id":42874351,"coauthors_can_edit":true,"owner":{"id":42874351,"first_name":"Pablo Alejandro","middle_initials":null,"last_name":"Suárez Marrero","page_name":"PabloAlejandroSuárezMarrero","domain_name":"unam","created_at":"2016-02-08T11:50:46.170-08:00","display_name":"Pablo Alejandro Suárez Marrero","url":"https://unam.academia.edu/PabloAlejandroSu%C3%A1rezMarrero"},"attachments":[{"id":100840790,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/100840790/thumbnails/1.jpg","file_name":"Chapter_12_Escenas_Diversas.pdf","download_url":"https://www.academia.edu/attachments/100840790/download_file","bulk_download_file_name":"Se_acabo_Agencia_sociopolitica_y_gesto.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/100840790/Chapter_12_Escenas_Diversas-libre.pdf?1680962087=\u0026response-content-disposition=attachment%3B+filename%3DSe_acabo_Agencia_sociopolitica_y_gesto.pdf\u0026Expires=1740636632\u0026Signature=TMtf-LNYawFbB1~0XZSSEmPudxjJOb~lkjF8lTQSTXASw-PdOQ~Mi9Zgs75kF4WhitTs2QXJYRK7T8trzY0HjK3Er7~S8CgFzwxZtFPtrKydV4gFr03i736ZKSpiu1z-6PtBP2iqVGXJsCQZn4yTYxWf5PELclgb6wdI5dEJ92TlUgJkDiULR7Uv~-HYlhrBeBsJecCfg4c57f0s1G3vjNgk7d6KbD0flw8zXdSgZ3fPm3ydZItMSxW6cAr5SCM68JvGp5Vl2qBGYPp-JPbvLD8EUJs0F49womjYntzbMmEpxy6bYN2eN2dBDvZOuyhs8sZBf~B4VGvNrSN9-TeP6A__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="71695180"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/71695180/Corporalidad_y_humor_en_las_portadas_de_las_grabaciones_sonoras_comerciales_1992_2017_de_Alejandro_Garc%C3%ADa_Villal%C3%B3n_Virulo_"><img alt="Research paper thumbnail of Corporalidad y humor en las portadas de las grabaciones sonoras comerciales (1992-2017) de Alejandro García Villalón “Virulo”" class="work-thumbnail" src="https://attachments.academia-assets.com/80932475/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/71695180/Corporalidad_y_humor_en_las_portadas_de_las_grabaciones_sonoras_comerciales_1992_2017_de_Alejandro_Garc%C3%ADa_Villal%C3%B3n_Virulo_">Corporalidad y humor en las portadas de las grabaciones sonoras comerciales (1992-2017) de Alejandro García Villalón “Virulo”</a></div><div class="wp-workCard_item"><span>6° Congresso Brasileiro de Iconografia Musical - Anais</span><span>, Dec 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Alejandro García Villalón “Virulo” es un cantautor cubano-mexicano de formación musical autodidac...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Alejandro García Villalón “Virulo” es un cantautor cubano-mexicano de formación musical autodidacta. Él fue miembro fundador del Movimiento de la Nueva Trova, participó y dirigió el Conjunto Nacional de Espectáculos de Cuba, así como fundó el otrora Centro Nacional de Promoción del Humor en el archipiélago caribeño. Entre otros galardones, recibió el Premio Nacional de Humorismo en el año 2014, máxima distinción que otorga el actual Centro Promotor del Humor, que pertenece al Consejo Nacional de las Artes Escénicas del Ministerio de Cultura de Cuba. Aun cuando existen importantes antecedentes analíticos de algunos de sus performances (Dalbem, 2012) y canciones específicas (Ruiz-Trejo, 2012), hasta el momento no han sido sistematizadas las relaciones entre música y humor en la creación de “Virulo” en su totalidad. Sin embargo, aún menos abordadas son las representaciones iconográficas de dichas prácticas musicales presentes en sus grabaciones sonoras comerciales (1992-2017). Este cantautor cuenta con un total de diecisiete documentos de música grabada en formato Compac disc, en su mayoría licenciados por el sello Discos Pueblo de Fonarte Latino (México) y por la Empresa de Grabaciones y Ediciones Musicales EGREM (Cuba). Al considerar que las portadas de las grabaciones sonoras comerciales de Alejandro García Villalón “Virulo” forman parte de su iconografía musical personal, es posible estudiarlas como referentes visuales de su historia de vida y biografía sonora. Bajo ese tenor, vale la pena desentrañar los posibles significados que adquieren el cuerpo del sujeto-creador y su humor en las representaciones iconográficas estudiadas, en relación con las propias prácticas germinales del documento musical y sus contextos de contacto. Para la sistematización de la iconografía presente en las portadas de las grabaciones sonoras comerciales de “Virulo” se recurre a la propuesta metodológica de Evguenia Roubina (2010), misma que revisa los tipos de evidencias (organológicas, musicológicas, antropológicas y teológico-filosóficas), el carácter de las evidencias (probatorio, complementario o específico) y su grado de confiabilidad (alto, medio o bajo). Además, se considera oportuno complementarla con el análisis tripartito propuesto por Erwin Panofsky (1987) para el estudio del significado en aquellas portadas donde prevalecen las evidencias antropológicas: descripción pre-iconográfica (identificación de los motivos artísticos), análisis iconográfico (sistematización del contenido de la imagen) y síntesis iconológica (revelación del contenido simbólico de la obra). Desde un punto de vista operativo, la propuesta de Roubina constituye una etapa exploratoria de aproximación a las portadas de dichas grabaciones sonoras comerciales, mientras que el método de Panofsky permite avanzar hacia una etapa explicativa ulterior. La presente comunicación se atiene al precepto de que la iconografía puede ser un valioso recurso metodológico para el estudio social de la música. Por lo que se asumen postulados del eje cognitivo-conductual de la semiótica musical propuestos por Óscar Hernández (2012), para cuestionar sobre las circunstancias específicas del contacto corporal de Alejandro García Villalón “Virulo” con la música y el humor, así como las reacciones corporales del sujeto representado ante su propio quehacer performativo.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="abe7206954ce132729508814ad99a7fd" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":80932475,"asset_id":71695180,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/80932475/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="71695180"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="71695180"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 71695180; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="50883519"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/50883519/Humor_y_pol%C3%ADtica_en_el_performance_La_Historia_de_Cuba_1979_de_Alejandro_Garc%C3%ADa_Villal%C3%B3n_Virulo_perspectivas_etnomusicol%C3%B3gicas_e_historiogr%C3%A1ficas"><img alt="Research paper thumbnail of Humor y política en el performance La Historia de Cuba (1979) de Alejandro García Villalón "Virulo": perspectivas etnomusicológicas e historiográficas" class="work-thumbnail" src="https://attachments.academia-assets.com/68759066/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/50883519/Humor_y_pol%C3%ADtica_en_el_performance_La_Historia_de_Cuba_1979_de_Alejandro_Garc%C3%ADa_Villal%C3%B3n_Virulo_perspectivas_etnomusicol%C3%B3gicas_e_historiogr%C3%A1ficas">Humor y política en el performance La Historia de Cuba (1979) de Alejandro García Villalón "Virulo": perspectivas etnomusicológicas e historiográficas</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://unam.academia.edu/PabloAlejandroSu%C3%A1rezMarrero">Pablo Alejandro Suárez Marrero</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://guadalajara.academia.edu/IbisamyRodr%C3%ADguezPairol">Ibisamy Rodríguez Pairol</a></span></div><div class="wp-workCard_item"><span>Estudos Latino-Americanos sobre Música</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La Historia de Cuba (1979) es la primera grabación sonora comercial de Alejandro García Villalón ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La Historia de Cuba (1979) es la primera grabación sonora comercial de Alejandro García Villalón Virulo, cantautor cubanomexicano de formación musical autodidacta. A pesar de su importante trayectoria, las grabaciones sonoras de Virulo han sido poco abordadas como fuentes primarias de investigación, casi nulas e invisibilizadas si se habla de sus primeros diez discos. Ello deja un vacío en investigaciones sobre los inicios de un cauce humorístico al interior de la Nueva Trova cubana. Por ello, es ineludible ahondar en las secciones integrantes del performance y en las características músico-textuales de sus lenguajes de ejecución. De igual manera, se debe profundizar en la información brindada por el performance sobre el contexto sociopolítico cubano, al ser analizado desde una perspectiva historiográfica. En el presente artículo se examinan las relaciones existentes entre música y humor al interior de La Historia de Cuba (1979), con énfasis en las formas en que Virulo empleó asideros de las culturas musicales para dar a conocer momentos determinados de la historia nacional. A su vez, se apuntan las posibilidades que ofrece dicho performance musical como fuente histórica para el estudio del pasado político y cultural cubano.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9c452a4e3f63514ddd869a84b8049892" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":68759066,"asset_id":50883519,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/68759066/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="50883519"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="50883519"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 50883519; 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Esta segunda, Los dos gemelos…, con libreto del poeta granadino Ramón Roca. El saqueo…, al parecer fue estrenado en Madrid en 1808, a raíz de la invasión napoleónica en España, de la cual se verifica sólo una reducción de la “Canción Patriótica” escrita para voz y piano, atesorada en los fondos de la Biblioteca Nacional de España. De Los dos gemelos…, los autores del presente trabajo localizaron el libreto íntegro en la Bancroft Library de la Universidad de California en Berkeley; así como la canción con acompañamiento de piano “No hay placer más grato en la tierra que el placer dichoso de amar” que aparece en El manuscrito de Mariana Vásques, ubicado en la Biblioteca de la otrora Escuela Nacional de Música de la UNAM. En el presente ensayo se presentan elementos literarios y musicales de las partituras referenciadas, así como el rol desempeñado en los procesos de independencia española y novohispana.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b8930637246f5d11780ef114f99af5ef" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61515288,"asset_id":41301360,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61515288/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41301360"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41301360"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41301360; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="14322662" id="papers"><div class="js-work-strip profile--work_container" data-work-id="121856851"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/121856851/Contribuciones_te%C3%B3ricas_al_an%C3%A1lisis_performativo_de_los_lenguajes_de_ejecuci%C3%B3n_en_grabaciones_sonoro_musicales"><img alt="Research paper thumbnail of Contribuciones teóricas al análisis performativo de los lenguajes de ejecución en grabaciones sonoro-musicales" class="work-thumbnail" src="https://attachments.academia-assets.com/116639399/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/121856851/Contribuciones_te%C3%B3ricas_al_an%C3%A1lisis_performativo_de_los_lenguajes_de_ejecuci%C3%B3n_en_grabaciones_sonoro_musicales">Contribuciones teóricas al análisis performativo de los lenguajes de ejecución en grabaciones sonoro-musicales</a></div><div class="wp-workCard_item"><span>Nierika</span><span>, Jul 5, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">A más de cincuenta años de recorrido académico, los estudios de performance siguen siendo un ámbi...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">A más de cincuenta años de recorrido académico, los estudios de performance siguen siendo un ámbito innovador que demanda investigaciones interdisciplinarias. En ese sentido, una teorización sobre performance requiere de un proceso crítico y poético que permita abordar una expresión artística y, en este caso, grabaciones sonoro-musicales como proceso creativo, práctica social, acto del habla, evento o comportamiento. Esto ubica a los estudios de performance como un enfoque analítico de circunstancias artísticas cambiantes, en donde las prácticas musicales se convierten en excusas para cuestionar aspectos sociales situados en tiempo y lugar. El presente artículo busca entender a las grabaciones sonoro-musicales como medios culturales que han facilitado una capitalización de lo sonoro-efímero y performativo musical en una estructura material, dentro sus propias dinámicas de producción, organización y significado. En tanto objeto de estudio, dos son los atributos performativos que se pueden considerar en las grabaciones sonoro-musicales: como expresión cambiante en su devenir histórico y como acción perdurable mediante un documento. Entonces, los documentos de música grabada son considerados como un proceso abierto, conformado por momentos creativos y espacios sociales de consumo, generando una pluralidad textual a estudiar. En ese sentido, la escucha intermedial se convierte en un método empírico fundamental para analizar un objeto, sujeto y/o práctica sonoro-musical mediante la percepción y experiencia del analista. Para ello, se deben considerar diferentes planos analíticos, tipos del lenguaje y medios expresivos, que permitan una comprensión del performance estudiado, aun cuando ésta sea una abstracción teórica y reflejo activo de la grabación sonoro-musical.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="17161ce3d4a8f18eb99a90f7ff1efe94" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":116639399,"asset_id":121856851,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/116639399/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="121856851"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="121856851"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 121856851; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="115676968"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/115676968/Humor_y_Educaci%C3%B3n_en_Hispanoam%C3%A9rica_Una_Revisi%C3%B3n_Bibliogr%C3%A1fica_1998_2022_"><img alt="Research paper thumbnail of Humor y Educación en Hispanoamérica: Una Revisión Bibliográfica (1998-2022)" class="work-thumbnail" src="https://attachments.academia-assets.com/112017897/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/115676968/Humor_y_Educaci%C3%B3n_en_Hispanoam%C3%A9rica_Una_Revisi%C3%B3n_Bibliogr%C3%A1fica_1998_2022_">Humor y Educación en Hispanoamérica: Una Revisión Bibliográfica (1998-2022)</a></div><div class="wp-workCard_item"><span>Revista Internacional del Arte en la Sociedad</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En este artículo se realiza una revisión de publicaciones académicas que abordan las relaciones e...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En este artículo se realiza una revisión de publicaciones académicas que abordan las relaciones entre el humor y la educación en Hispanoamérica (1998-2022). La presente investigación tuvo como objetivos la construcción de un estado del conocimiento previo sobre el tema, identificación de los autores más destacados en el campo y obtención de información relevante sobre las tendencias epistemológicas. Para llevar a cabo este proceso, se empleó una metodología basada en la revisión sistemática de la literatura, centrado en su rigurosidad y funciones operativas. Tras analizar cerca de treinta documentos, entre artículos académicos, tesis, actas de congresos, capítulos de libros y monografías, los resultados revelaron la existencia de un amplio corpus de conocimiento teórico y empírico sobre las implicaciones del humor en los procesos de enseñanza-aprendizaje. Este conocimiento se centra en las influencias positivas y los beneficios obtenidos al incorporar el humor en la práctica docente en los diferentes niveles educativos. Sin embargo, también se documentó un cambio reciente en la mirada epistémica, que buscó examinar las posibles repercusiones negativas y generadoras de violencia de las expresiones humorísticas en el ámbito educativo, así como la necesidad de incluir una perspectiva de género en el trabajo de campo. En cualquier caso, se vislumbra una creciente necesidad de llevar a cabo investigaciones situadas en otras instituciones y países de la región, a fin de contrastar los resultados mencionados.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f8c65929202bf0b1dc9353fb7ac9dd56" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":112017897,"asset_id":115676968,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/112017897/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="115676968"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="115676968"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 115676968; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="87814872"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/87814872/Hacia_un_modelo_de_gesti%C3%B3n_para_el_patrimonio_hist%C3%B3rico_documental_de_la_m%C3%BAsica_en_Cuba"><img alt="Research paper thumbnail of Hacia un modelo de gestión para el patrimonio histórico-documental de la música en Cuba" class="work-thumbnail" src="https://attachments.academia-assets.com/91926507/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/87814872/Hacia_un_modelo_de_gesti%C3%B3n_para_el_patrimonio_hist%C3%B3rico_documental_de_la_m%C3%BAsica_en_Cuba">Hacia un modelo de gestión para el patrimonio histórico-documental de la música en Cuba</a></div><div class="wp-workCard_item"><span>El Sincopado Habanero</span><span>, Oct 3, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En Cuba, los documentos relativos a las prácticas musicales constituyen testimonios materiales de...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En Cuba, los documentos relativos a las prácticas musicales constituyen testimonios materiales del desarrollo alcanzado por las diversas corrientes estéticas, técnicas e ideológicas, que se sucedieron a lo largo de la historia nacional, provincial, regional, municipal y/o local. Sin embargo, se carece de un término operativo para designar aquello que debe constituir el patrimonio histórico-documental de la música en el archipiélago caribeño. De igual forma, se requiere una normativa propia para dicha tipología documental de la música y una sistematización de las labores de rescate y salvaguarda del patrimonio musical cubano. En el presente artículo se enuncia un modelo de gestión, que atiende a las particularidades documentales, informativas y cognoscitivas de dicha herencia sonora registrada en soportes documentales. Bajo ese tenor, se puntualiza en las labores de localización, identificación, inventario, catalogación, digitalización, estudios y difusión, como acciones que integran un proceso planificado, organizado, dirigido y controlado, que salvaguarde dichos bienes documentales en beneficio de generaciones presentes y futuras. Esta propuesta metodológica pretende ser un pequeño aporte a la investigación, protección y conservación del patrimonio histórico- documental de las músicas en Cuba; solo viable mediante su constatación con el quehacer diario de los gestores de dichos bienes culturales.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="567e15fe992e7c5b81230466bd9fc5be" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":91926507,"asset_id":87814872,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/91926507/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="87814872"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="87814872"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 87814872; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="86413036"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/86413036/Itinerarios_de_la_gesti%C3%B3n_del_patrimonio_hist%C3%B3rico_documental_de_la_m%C3%BAsica_en_Cuba"><img alt="Research paper thumbnail of Itinerarios de la gestión del patrimonio histórico-documental de la música en Cuba" class="work-thumbnail" src="https://attachments.academia-assets.com/90872583/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/86413036/Itinerarios_de_la_gesti%C3%B3n_del_patrimonio_hist%C3%B3rico_documental_de_la_m%C3%BAsica_en_Cuba">Itinerarios de la gestión del patrimonio histórico-documental de la música en Cuba</a></div><div class="wp-workCard_item"><span> Intus - Legere Historia</span><span>, Sep 5, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En Cuba, la mayoría de los estudios sobre el patrimonio musical abordan las expresiones músico-da...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En Cuba, la mayoría de los estudios sobre el patrimonio musical abordan las expresiones músico-dancísticas que forman parte del patrimonio inmaterial del país. Pero igual importancia deben poseer los documentos relativos a la práctica musical en la nación, de los cuáles se carece de un término operativo y legislación que aseguren su gestión. Ello limita las acciones de rescate de las que debe ser objeto primo, siendo pertinente recorrer los itinerarios de gestión seguidos por el Gabinete de Patrimonio Musical Esteban Salas, el Centro de Investigación y Desarrollo de la Música Cubana, así como el Museo Nacional de la Música; tres de las más importantes instituciones cubanas abocadas al rescate del patrimonio histórico-documental de la música en la nación. De esta forma, se busca asegurar su salvaguarda en beneficio de las generaciones presentes y futuras.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="484f87bcb43a3bffacb6037bda37c133" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":90872583,"asset_id":86413036,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/90872583/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="86413036"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="86413036"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 86413036; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="83927499"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/83927499/M%C3%BAsica_humor_y_transgresi%C3%B3n_social_en_el_performance_de_Alejandro_Garc%C3%ADa_Villal%C3%B3n_Virulo_en_el_TrovaFest_Quer%C3%A9taro_2019_"><img alt="Research paper thumbnail of Música, humor y transgresión social en el performance de Alejandro García Villalón "Virulo" en el TrovaFest (Querétaro, 2019)" class="work-thumbnail" src="https://attachments.academia-assets.com/89117430/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/83927499/M%C3%BAsica_humor_y_transgresi%C3%B3n_social_en_el_performance_de_Alejandro_Garc%C3%ADa_Villal%C3%B3n_Virulo_en_el_TrovaFest_Quer%C3%A9taro_2019_">Música, humor y transgresión social en el performance de Alejandro García Villalón "Virulo" en el TrovaFest (Querétaro, 2019)</a></div><div class="wp-workCard_item"><span>HArtes</span><span>, Jul 27, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">El sábado 07 de diciembre de 2019, Alejandro García Villalón “Virulo” se presentó en la Plaza Fun...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">El sábado 07 de diciembre de 2019, Alejandro García Villalón “Virulo” se presentó en la Plaza Fundadores de la ciudad de Querétaro, como parte de las actividades programadas dentro del TrovaFest 2019. Este cantautor cubano-mexicano recurrió a su acervo compositivo para estructurar un performance músico-humorístico particular, situado en tiempo y lugar. Al considerar los pocos estudios existentes sobre sus composiciones performativas, para la presente ponencia se recurrió a una grabación sonora en vivo del evento musical, a la segmentación del performance estudiado, al análisis de sus lenguajes de ejecución y a una interpretación crítica de los datos hallados durante el trabajo de campo. La triangulación de los resultados condujo a la construcción de imágenes sonoro-musicales relacionadas con un humor paródico y socialmente transgresor. Para este acercamiento se recurrió a herramientas metodológicas provenientes de la etnomusicología, con énfasis en la escucha analítica del soporte grabado, el análisis musical del performance y los estudios de música popular. Esta ponencia busca contribuir a un mejor entendimiento de los discursos humorísticos al interior de expresiones musicales específicas, en tanto entrona a las grabaciones sonoras como performances, espacios intermediales entendibles desde lo fenomenológico y hermenéutico.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a0f82a930f8ba9b6c75160f59365d8db" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":89117430,"asset_id":83927499,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/89117430/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="83927499"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="83927499"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 83927499; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="81169626"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/81169626/Las_portadas_de_El_Sincopado_Habanero_2016_2021_como_documentos_iconogr%C3%A1fico_musicales"><img alt="Research paper thumbnail of Las portadas de El Sincopado Habanero (2016-2021) como documentos iconográfico-musicales" class="work-thumbnail" src="https://attachments.academia-assets.com/91932022/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/81169626/Las_portadas_de_El_Sincopado_Habanero_2016_2021_como_documentos_iconogr%C3%A1fico_musicales">Las portadas de El Sincopado Habanero (2016-2021) como documentos iconográfico-musicales</a></div><div class="wp-workCard_item"><span>El Sincopado Habanero</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En el presente artículo, se abordan las portadas de El Sincopado Habanero (2016-2021) como fuente...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En el presente artículo, se abordan las portadas de El Sincopado Habanero (2016-2021) como fuentes iconográfico-musicales. Al ser este un primer acercamiento documental, informativo y cognoscitivo, se profundiza en aquellos aspectos contextuales, sociales y culturales que condicionan sus existencias en escenas musicales situadas en instituciones culturales. En ese sentido, las portadas son tomadas como dispositivos de enunciación, donde convergen elementos visuales, musicales y textuales, cuyos significados son abordados mediante la implementación de métodos iconográficos, provenientes de la tradición investigativa de la música. De tal forma, se profundiza en las implicaciones iconológico-musicales de una muestra de portadas, abriendo el camino para futuros trabajos, en los cuales se relacionen la iconografía musical, los documentos efímeros y las expresiones culturales.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="76fc53da55385c11eff421ff7e5308a4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":91932022,"asset_id":81169626,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/91932022/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="81169626"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="81169626"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 81169626; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="41442585"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/41442585/M%C3%BAsica_humor_y_cr%C3%ADtica_social_en_el_performance_Buena_Risa_Social_Club_Le%C3%B3n_de_Los_Aldama_2018_de_Alejandro_Garc%C3%ADa_Villal%C3%B3n_Virulo_"><img alt="Research paper thumbnail of Música, humor y crítica social en el performance "Buena Risa Social Club" (León de Los Aldama, 2018) de Alejandro García Villalón "Virulo"" class="work-thumbnail" src="https://attachments.academia-assets.com/61619776/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/41442585/M%C3%BAsica_humor_y_cr%C3%ADtica_social_en_el_performance_Buena_Risa_Social_Club_Le%C3%B3n_de_Los_Aldama_2018_de_Alejandro_Garc%C3%ADa_Villal%C3%B3n_Virulo_">Música, humor y crítica social en el performance "Buena Risa Social Club" (León de Los Aldama, 2018) de Alejandro García Villalón "Virulo"</a></div><div class="wp-workCard_item"><span>Middle Atlantic Review of Latin American Studies</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Buena Risa Social Club es un performance humorístico-musical del cantautor cubano-mexicano Alejan...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Buena Risa Social Club es un performance humorístico-musical del cantautor cubano-mexicano Alejandro García Villalón “Virulo”, quién lo presentó en el Café Antropía (León de Los Aldama, Guanajuato, México) el 30 de noviembre de 2018. Al tener en cuenta los pocos estudios realizados sobre sus composiciones performativas, para la presente comunicación se recurrió a una grabación sonora en vivo del evento musical, a la segmentación del espectáculo estudiado, al análisis del lenguaje de ejecución (música y texto) y a una interpretación de los datos obtenidos durante el trabajo de campo. Para este acercamiento se recurrió a herramientas metodológicas de la etnomusicología del performance, en su vínculo con la fenomenología y la hermenéutica. Ello permitió entender los mecanismos creativos empleados por “Virulo” para ejercer subjetivamente una crítica a la realidad social imperante en Cuba, México y Estados Unidos, desde una perspectiva situada.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="36f3e50022a58cad661f0067b2c198d9" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61619776,"asset_id":41442585,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61619776/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41442585"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41442585"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41442585; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="39314367"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/39314367/Momentos_sociol%C3%B3gicos_en_el_performance_musical_El_humor_en_estos_tiempos_da_c%C3%B3lera_ca_1986_de_Alejandro_Garc%C3%ADa_Villal%C3%B3n_Virulo_"><img alt="Research paper thumbnail of Momentos sociológicos en el performance musical “El humor en estos tiempos da cólera” (ca. 1986) de Alejandro García Villalón "Virulo"" class="work-thumbnail" src="https://attachments.academia-assets.com/59452674/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/39314367/Momentos_sociol%C3%B3gicos_en_el_performance_musical_El_humor_en_estos_tiempos_da_c%C3%B3lera_ca_1986_de_Alejandro_Garc%C3%ADa_Villal%C3%B3n_Virulo_">Momentos sociológicos en el performance musical “El humor en estos tiempos da cólera” (ca. 1986) de Alejandro García Villalón "Virulo"</a></div><div class="wp-workCard_item"><span>De Raíz Diversa, Revista Especializada en Estudios Latinoamericanos</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">“El humor en estos tiempos da cólera” (ca. 1986) es uno de los performances que escribió, musical...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">“El humor en estos tiempos da cólera” (ca. 1986) es uno de los performances que escribió, musicalizó y dirigió el cantautor Alejandro García Villalón Virulo para el Conjunto Nacional de Espectáculos de Cuba. De éste se conserva una adaptación televisiva del Instituto Cubano de Radio y Televisión, que no ha sido abordada en investigaciones precedentes. Según consta, en dicho espectáculo se ofrecen algunos momentos sociológicos de la realidad cubana del siglo XX. Este performance constituye un documento valioso para deconstruir lo socialmente narrado y descrito a manera de videoclips, en tanto asideros creativos del cantautor. Con la implementación de una metodología analítica existente para el video musical, se determinaron las formas estructurales de las composiciones performativas, identificaron los recursos audiovisuales empleados para lograr un humorismo musical subjetivo, y argumentaron aquellos momentos sociológicos identificados. Esta investigación contribuye a una mayor relación interdisciplinaria entre la musicología y otras disciplinas socio-humanísticas.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="374ba59c5f50183a72e6b2efc8922a90" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":59452674,"asset_id":39314367,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/59452674/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39314367"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39314367"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39314367; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="38070665"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/38070665/El_G%C3%A9nesis_Seg%C3%BAn_Virulo_2001_de_Alejandro_Garc%C3%ADa_Villal%C3%B3n_como_performance_humor%C3%ADstico_de_intertextualidad_literaria_musical"><img alt="Research paper thumbnail of El "Génesis Según Virulo" (2001) de Alejandro García Villalón como performance humorístico de intertextualidad literaria-musical" class="work-thumbnail" src="https://attachments.academia-assets.com/58117588/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38070665/El_G%C3%A9nesis_Seg%C3%BAn_Virulo_2001_de_Alejandro_Garc%C3%ADa_Villal%C3%B3n_como_performance_humor%C3%ADstico_de_intertextualidad_literaria_musical">El "Génesis Según Virulo" (2001) de Alejandro García Villalón como performance humorístico de intertextualidad literaria-musical</a></div><div class="wp-workCard_item"><span>AV Notas, Revista de Investigación Musical del CSM de Jaén</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La pluralidad discursiva manifiesta en la música cubana se ha encontrado enmarcada en una realida...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La pluralidad discursiva manifiesta en la música cubana se ha encontrado enmarcada en una realidad estético-musical cambiante, causada por una postmodernidad social cada vez más abierta a la globalización de las expresiones culturales de los pueblos. Es dentro de esta dinámica creativa que se encontraron inmersos los performances musicales del cantautor Alejandro García Villalón, quien satirizó y criticó los contextos históricos y socioculturales generadores. La casi nula existencia de estudios académicos sobre la cancionística de dicho autor brindó un diapasón de oportunidades para deconstruir sus espacios creativos, identificar sus particularidades expresivas, así como entender los mecanismos e intertextualidades empleadas en la construcción de su discurso literario-musical. En este particular, para la reinterpretación del Génesis bíblico, primer libro del Antiguo Testamento. Ello fue posible con instrumentales pertenecientes a la musicología latinoamericana y popular, fundamentalmente mediante una escucha analítica de sus soportes de difusión, entronando los documentos sonoros de música grabada como fuentes primarias de información en recientes pesquisas especializadas. La presente investigación condujo a pequeños aportes sobre la construcción de realidades musicales alternas, conformadas por identidades digitalmente colectivas, cuyos vínculos se pudieron establecer mediante patrones de consumo de performances específicos.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5a2c449b7539f43d458c7968e5c5cb82" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58117588,"asset_id":38070665,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58117588/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38070665"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38070665"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38070665; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="36860614"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/36860614/Algunas_consideraciones_anal%C3%ADticas_sobre_el_performance_musical"><img alt="Research paper thumbnail of Algunas consideraciones analíticas sobre el performance musical" class="work-thumbnail" src="https://attachments.academia-assets.com/57059105/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/36860614/Algunas_consideraciones_anal%C3%ADticas_sobre_el_performance_musical">Algunas consideraciones analíticas sobre el performance musical</a></div><div class="wp-workCard_item"><span>Estudios Artísticos: revista de investigación creadora de la Facultad de Artes-ASAB</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Con el presente trabajo se busca allanar la zanja que existe entre los abordajes tradicionales de...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Con el presente trabajo se busca allanar la zanja que existe entre los abordajes tradicionales del discurso musical y los estudios de performance. Para la realización de investigaciones artísticas sobre performances musicales se debe tener en cuenta dicha expresión como subjetividad cambiante a lo largo de su devenir histórico, construido en las diversas “formas de hacer” que la da a conocer; y como objeto que perdura y es cognoscible a través de la escucha analítica de sus soportes de difusión. Entonces, para el abordaje crítico de los performances musicales resulta importante la triangulación de los resultados provenientes de diferentes estrategias analíticas, con los cuales se deconstruiría un todo único, divisible sólo a nivel epistemológico pero indivisible como forma particular de producción subjetiva. Esto redunda en las relaciones de condicionamiento mutuo existentes entre las expresiones artísticas y su marco generador, así como su uso en la conformación de un discurso performativo propio.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="25d2dcffc288e7b4a82cb7e457200c8a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57059105,"asset_id":36860614,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57059105/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="36860614"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="36860614"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36860614; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="42951434"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/42951434/Patrimonio_hist%C3%B3rico_documental_de_la_m%C3%BAsica_en_Cuba_conceptualizaci%C3%B3n_del_t%C3%A9rmino_y_su_necesidad_de_gesti%C3%B3n"><img alt="Research paper thumbnail of Patrimonio histórico-documental de la música en Cuba: conceptualización del término y su necesidad de gestión" class="work-thumbnail" src="https://attachments.academia-assets.com/63207636/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/42951434/Patrimonio_hist%C3%B3rico_documental_de_la_m%C3%BAsica_en_Cuba_conceptualizaci%C3%B3n_del_t%C3%A9rmino_y_su_necesidad_de_gesti%C3%B3n">Patrimonio histórico-documental de la música en Cuba: conceptualización del término y su necesidad de gestión</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://unam.academia.edu/PabloAlejandroSu%C3%A1rezMarrero">Pablo Alejandro Suárez Marrero</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://havanauniversity.academia.edu/MiriamEscuderoSuastegui">Miriam Escudero Suastegui</a></span></div><div class="wp-workCard_item"><span>Música e Investigación</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En Cuba, la mayoría de los estudios sobre patrimonio musical han estado centrados en las expresio...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En Cuba, la mayoría de los estudios sobre patrimonio musical han estado centrados en las expresiones músico-danzarias que constituyen el patrimonio inmaterial del país. Igual de importantes son los documentos relativos a la práctica musical en la nación, puesto que constituyen el testimonio material del desarrollo alcanzado por las diversas corrientes estéticas, técnicas e ideológico-musicales que se sucedieron a lo largo de la historia. En la actualidad no existe un término operativo para designar aquello que debe constituir el patrimonio histórico-documental de la música en Cuba, lo que representa una limitación de las acciones de gestión, de las que el patrimonio debe ser objeto primo. Es por ello pertinente recorrer lo dicho al respecto por especialistas para la conceptualización de un término adecuado, así como también será de utilidad abordar las generalidades del marco legal internacional y nacional existente pero insuficiente. Para gestionar el patrimonio histórico-documental de la música en Cuba se requiere investigarlo, protegerlo, conservarlo y difundirlo, de forma que se asegure su salvaguarda en beneficio de las generaciones presentes y futuras.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1c61afd13c73126f0d48289e0ec8b891" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":63207636,"asset_id":42951434,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/63207636/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="42951434"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="42951434"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42951434; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="36818578"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/36818578/M%C3%BAsica_para_ritual_mas%C3%B3nico_de_Ram%C3%B3n_Figueroa_Morales_Documentos_testimoniales_sobre_la_pr%C3%A1ctica_musical_en_la_logia_Prudencia_no_2_de_Santiago_de_Cuba_1898_1928_"><img alt="Research paper thumbnail of Música para ritual masónico de Ramón Figueroa Morales: Documentos testimoniales sobre la práctica musical en la logia Prudencia no. 2 de Santiago de Cuba (1898-1928)" class="work-thumbnail" src="https://attachments.academia-assets.com/56769991/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/36818578/M%C3%BAsica_para_ritual_mas%C3%B3nico_de_Ram%C3%B3n_Figueroa_Morales_Documentos_testimoniales_sobre_la_pr%C3%A1ctica_musical_en_la_logia_Prudencia_no_2_de_Santiago_de_Cuba_1898_1928_">Música para ritual masónico de Ramón Figueroa Morales: Documentos testimoniales sobre la práctica musical en la logia Prudencia no. 2 de Santiago de Cuba (1898-1928)</a></div><div class="wp-workCard_item"><span>REHMLAC+ Revista de Estudios Históricos de la Masonería Latinoamericana y Caribeña</span><span>, Jun 10, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Hasta hace poco, los estudios sobre las prácticas musicales al interior de una logia masónica cub...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Hasta hace poco, los estudios sobre las prácticas musicales al interior de una logia masónica cubana eran casi inexistentes. Con la identificación de la Música para ritual masónico de Ramón Figueroa Morales dentro del Archivo de Música de la Catedral de Santiago de Cuba (AMCSC), se dio el primer paso hacia el entendimiento del tema en cuestión, su salvaguarda como posible bien integrante del patrimonio musical nacional y socialización de los resultados en medios especializados. Con conocimientos provenientes de la gestión documental, de la información y del conocimiento, se implementó una propuesta metodológica realizada expresamente para la gestión del patrimonio histórico-documental de la música en Cuba. Con la sistematización de las acciones de localización, identificación, inventario, catalogación, digitalización, estudios aplicados y difusión, aplicadas en su conjunto a los documentos de música anotada abordados, se pudo caracterizar las particularidades músico-funcionales del objeto de estudio y llegar a conclusiones generales al respecto.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="386b60999a8b3fc2a74b5f3e9bcf5a10" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":56769991,"asset_id":36818578,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/56769991/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="36818578"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="36818578"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36818578; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="21698788"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/21698788/An%C3%A1lisis_literario_musical_e_intervenci%C3%B3n_del_villancico_Ofrenda_de_un_Guajirito_de_Alfredo_Morales_Mustelier_La_Habana_1956"><img alt="Research paper thumbnail of Análisis literario-musical e intervención del villancico Ofrenda de un Guajirito de Alfredo Morales Mustelier / La Habana, 1956" class="work-thumbnail" src="https://attachments.academia-assets.com/42399438/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/21698788/An%C3%A1lisis_literario_musical_e_intervenci%C3%B3n_del_villancico_Ofrenda_de_un_Guajirito_de_Alfredo_Morales_Mustelier_La_Habana_1956">Análisis literario-musical e intervención del villancico Ofrenda de un Guajirito de Alfredo Morales Mustelier / La Habana, 1956</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://unam.academia.edu/PabloAlejandroSu%C3%A1rezMarrero">Pablo Alejandro Suárez Marrero</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://ugto.academia.edu/DrJuanHugoBarreiroLastra">Dr. Juan Hugo Barreiro Lastra</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La creación musical de Alfredo Morales Mustelier de 1949 a 1963, referente a los géneros menores ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La creación musical de Alfredo Morales Mustelier de 1949 a 1963, referente a los géneros menores de la liturgia católica en Cuba, entre los que se encuentra su ciclo Villancicos Cubanos (1956), no ha sido lo suficientemente investigada. Durante su estudio se recurrió a la localización, catalogación, transcripción, análisis literario-musical e intervención de las obras, atendiendo fundamentalmente a los aspectos técnicos-expresivos en aras de lograr mayores cotas en su interpretación. En el presente trabajo se verifica que este autor es uno de los precursores del uso de ritmos y melodías populares y folklóricas en la eucaristía antes del Concilio Ecuménico Vaticano II (1962-1965).</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f32e53e551e5bb22e6f15f730cf75547" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":42399438,"asset_id":21698788,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/42399438/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="21698788"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="21698788"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 21698788; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="32752028"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/32752028/Aproximaci%C3%B3n_a_las_flautillas_indocubanas"><img alt="Research paper thumbnail of Aproximación a las flautillas indocubanas." class="work-thumbnail" src="https://attachments.academia-assets.com/52909342/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/32752028/Aproximaci%C3%B3n_a_las_flautillas_indocubanas">Aproximación a las flautillas indocubanas.</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://unam.academia.edu/PabloAlejandroSu%C3%A1rezMarrero">Pablo Alejandro Suárez Marrero</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/IyaM%C3%A9zenova">Iya Mézenova</a></span></div><div class="wp-workCard_item"><span>Clave. 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El artículo recorre dos etapas de su vida, una la etapa formativa, la cual refiere a los inicios de su carrera como flautista. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="76436224"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/76436224/_Con_Cuba_no_te_metas_2020_como_acto_performativo_de_Alejandro_Garc%C3%ADa_Villal%C3%B3n_Virulo_an%C3%A1lisis_videogr%C3%A1fico_y_recepci%C3%B3n_cr%C3%ADtica"><img alt="Research paper thumbnail of “Con Cuba no te metas” (2020) como acto performativo de Alejandro García Villalón “Virulo”: análisis videográfico y recepción crítica" class="work-thumbnail" src="https://attachments.academia-assets.com/84144879/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/76436224/_Con_Cuba_no_te_metas_2020_como_acto_performativo_de_Alejandro_Garc%C3%ADa_Villal%C3%B3n_Virulo_an%C3%A1lisis_videogr%C3%A1fico_y_recepci%C3%B3n_cr%C3%ADtica">“Con Cuba no te metas” (2020) como acto performativo de Alejandro García Villalón “Virulo”: análisis videográfico y recepción crítica</a></div><div class="wp-workCard_item"><span>V Congreso ARLAC/IMS - Libro de Resúmenes / Comunicación Virtual</span><span>, Apr 13, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Alejandro García Villalón “Virulo” es un cantautor cubano-mexicano que asume el humor musical com...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Alejandro García Villalón “Virulo” es un cantautor cubano-mexicano que asume el humor musical como vehículo discursivo para ejercer la crítica social de sus contextos germinales. Después de migrar a México a inicios de los años noventa, “Virulo” ha tenido momentos de cercanía y/o alejamiento con instituciones oficiales que representan una parte de la cultura cubana. Sus disímiles posicionamientos y posturas creativas han ocasionado no pocos descalabros y opiniones contrarias en torno a su quehacer autoral, poseedor de un sello humorístico apegado a expresiones cubanas del teatro vernáculo y la música trovadoresca. Ejemplo de ello es su videoclip “Con Cuba no te metas” (2020), audiovisual producido por el Ministerio de Cultura y la Empresa de Grabaciones y Ediciones Musicales EGREM de Cuba, que fue compartido en sitios web y redes sociales de la prensa oficial cubana. La presente comunicación constituye un primer acercamiento a la recepción crítica de dicho vídeo musical en las redes sociales, fundamentalmente en YouTube. Para esto, asumo este audiovisual como documento de la performatividad del cantautor, al cual accedo mediante un análisis de los elementos discursivos que detonan una intertextualidad general. De igual forma, contrasto lo representado por los artistas con los comentarios del público, ya que ambos son depositarios y generadores de múltiples sentidos sobre, de y desde el videoclip, con posicionamientos a veces inconexos. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="40667818"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/40667818/M%C3%BAsica_contempor%C3%A1nea_antecedentes_presente_y_futuro"><img alt="Research paper thumbnail of Música contemporánea: antecedentes, presente y, ¿futuro?" class="work-thumbnail" src="https://attachments.academia-assets.com/60951202/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/40667818/M%C3%BAsica_contempor%C3%A1nea_antecedentes_presente_y_futuro">Música contemporánea: antecedentes, presente y, ¿futuro?</a></div><div class="wp-workCard_item"><span>Alternativas Revista Cultural</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La música contemporánea surge con la Posmodernidad (1970-actualidad) y el auge de nuevos movimien...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La música contemporánea surge con la Posmodernidad (1970-actualidad) y el auge de nuevos movimientos artísticos, culturales, literarios y filosóficos, no siempre coherentes entre sí desde el punto de vista ideológico. En la actualidad, la música contemporánea mexicana comprende una inmensa diversidad de conceptos creativos, técnicas compositivas y tendencias estéticas subjetivas que son inabarcables en su totalidad. La música contemporánea debería retratar nuestra historia y crear conciencia socio-estética, mediante el ejercicio libre del compositor, pero con exigencia y creatividad.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="92f670fc00fd16d3e93f119ebc85eeef" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":60951202,"asset_id":40667818,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/60951202/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="40667818"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="40667818"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 40667818; 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Bajo esa tesitura, los Premios Lucas brindan una variedad de fuentes primarias incomparables, poco abordadas como objetos de estudio en investigaciones musicológicas. Fue determinante la identificación de los<br />géneros musicales en boga durante el 2016. Dichos videoclips fueron tomados como justificantes para discursar sobre la actualidad de la música popular en el contexto cubano, donde muchos de los juicios de valor fueron emitidos por el público receptor.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="70ba8fbd128e9bcd5448890556bddb7a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":60094534,"asset_id":39891144,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/60094534/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39891144"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39891144"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39891144; 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Domingo, 2012) BOOK OF ABSTRACT" class="work-thumbnail" src="https://attachments.academia-assets.com/51862734/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/31518803/Elementos_hispanos_y_africanos_en_los_Villancicos_cubanos_La_Habana_1956_de_Alfredo_Morales_Mustelier_Stgo_de_Cuba_1927_Sto_Domingo_2012_BOOK_OF_ABSTRACT">Elementos hispanos y africanos en los Villancicos cubanos (La Habana, 1956) de Alfredo Morales Mustelier (Stgo. de Cuba, 1927 – Sto. Domingo, 2012) BOOK OF ABSTRACT</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">EN Volpe, Maria Alice; Nogueira, Ilza (orgs.). VII Simpósio Internacional de Musicologia da UFRJ ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">EN Volpe, Maria Alice; Nogueira, Ilza (orgs.). VII Simpósio Internacional de Musicologia da UFRJ & II Encontro da Associação Brasileira de Teoria e Análise Musical ‘Música no Universo Ibero-Americano : Desafios Interdisciplinares’ : Livro de Resumos. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="26546787"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/26546787/Comentarios_sobre_arte_sonoro"><img alt="Research paper thumbnail of Comentarios sobre arte sonoro" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/26546787/Comentarios_sobre_arte_sonoro">Comentarios sobre arte sonoro</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En física, el sonido es resultado de la propagación de ondas, audibles o no para los humanos, a t...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En física, el sonido es resultado de la propagación de ondas, audibles o no para los humanos, a través de un fluido u otro medio. Este fenómeno, en combinación con el silencio, constituye la materia prima de la música y, por tanto, elemento indispensable para la construcción de cualquier tipo de lenguaje musical.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="26546787"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="26546787"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 26546787; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=26546787]").text(description); $(".js-view-count[data-work-id=26546787]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 26546787; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='26546787']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=26546787]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":26546787,"title":"Comentarios sobre arte sonoro","internal_url":"https://www.academia.edu/26546787/Comentarios_sobre_arte_sonoro","owner_id":42874351,"coauthors_can_edit":true,"owner":{"id":42874351,"first_name":"Pablo Alejandro","middle_initials":null,"last_name":"Suárez Marrero","page_name":"PabloAlejandroSuárezMarrero","domain_name":"unam","created_at":"2016-02-08T11:50:46.170-08:00","display_name":"Pablo Alejandro Suárez Marrero","url":"https://unam.academia.edu/PabloAlejandroSu%C3%A1rezMarrero"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="14322680" id="reviews"><div class="js-work-strip profile--work_container" data-work-id="127360693"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/127360693/C%C3%A9sar_D_Favila_Immaculate_Sounds_The_Musical_Lives_of_Nuns_in_New_Spain_New_York_Oxford_University_Press_2023"><img alt="Research paper thumbnail of César D. Favila. Immaculate Sounds: The Musical Lives of Nuns in New Spain. New York: Oxford University Press, 2023" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/127360693/C%C3%A9sar_D_Favila_Immaculate_Sounds_The_Musical_Lives_of_Nuns_in_New_Spain_New_York_Oxford_University_Press_2023">César D. Favila. Immaculate Sounds: The Musical Lives of Nuns in New Spain. New York: Oxford University Press, 2023</a></div><div class="wp-workCard_item"><span>Diagonal: An Ibero-American Music Review</span><span>, Jan 29, 2025</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En "Immaculate Sounds: The Musical Lives of Nuns in New Spain" se ofrece una mirada detallada sob...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En "Immaculate Sounds: The Musical Lives of Nuns in New Spain" se ofrece una mirada detallada sobre la vida musical de las monjas en la Nueva España, con énfasis en su papel como intercesoras en la búsqueda de la salvación cristiana a través de la música devocional. Ello permite que Favila proporcione una visión multidisciplinaria de una práctica musical situada en tiempos y lugares específicos, que puede ser tomada como base para futuras investigaciones sobre música colonial y para la historia de la espiritualidad. Finalmente, es importante señalar los accesos crecientes que diversas instituciones y personas han dado a los investigadores para que consulten fuentes raras y valiosas, como bien agradece el autor.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="10010a83cf8994553cb0c7a991165ab3" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":121103374,"asset_id":127360693,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/121103374/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="127360693"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="127360693"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 127360693; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=127360693]").text(description); $(".js-view-count[data-work-id=127360693]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 127360693; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='127360693']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "10010a83cf8994553cb0c7a991165ab3" } } $('.js-work-strip[data-work-id=127360693]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":127360693,"title":"César D. 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Polifonías de Tradición Oral en el Pacífico Mexicano: El Repertorio para Cuaresma y Semana Santa en la Comunidad Nahua de Santa María Ostula. Morelia: Universidad Nacional Autónoma de México, Escuela Nacional de Estudios Superiores – Unidad Morelia." class="work-thumbnail" src="https://attachments.academia-assets.com/120620096/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/126795783/Antonio_Ru%C3%ADz_Caballero_2023_Polifon%C3%ADas_de_Tradici%C3%B3n_Oral_en_el_Pac%C3%ADfico_Mexicano_El_Repertorio_para_Cuaresma_y_Semana_Santa_en_la_Comunidad_Nahua_de_Santa_Mar%C3%ADa_Ostula_Morelia_Universidad_Nacional_Aut%C3%B3noma_de_M%C3%A9xico_Escuela_Nacional_de_Estudios_Superiores_Unidad_Morelia">Antonio Ruíz Caballero. 2023. Polifonías de Tradición Oral en el Pacífico Mexicano: El Repertorio para Cuaresma y Semana Santa en la Comunidad Nahua de Santa María Ostula. Morelia: Universidad Nacional Autónoma de México, Escuela Nacional de Estudios Superiores – Unidad Morelia.</a></div><div class="wp-workCard_item"><span>Etno - Cuadernos de Etnomusicología</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">El libro "Polifonías de tradición oral en el Pacífico mexicano: el repertorio para Cuaresma y Sem...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">El libro "Polifonías de tradición oral en el Pacífico mexicano: el repertorio para Cuaresma y Semana Santa en la comunidad nahua de Santa María Ostula" de Antonio Ruiz Caballero presenta una investigación detallada sobre las prácticas musicales en esta comunidad del poniente del estado de Michoacán (México). Publicado por la Universidad Nacional Autónoma de México en 2023, en el texto se explora cómo las polifonías orales han sido preservadas y practicadas en Santa María Ostula, con particular énfasis en los períodos de Cuaresma y Semana Santa. Ruiz Caballero describe la contribución de varios actores sociales y especialistas locales, incluyendo cantores y rezanderos, así como detalla la organización religiosa que sustenta las prácticas musicales que estudió.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1eba1c5210d7cc621a1cc73315495279" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":120620096,"asset_id":126795783,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/120620096/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="126795783"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="126795783"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 126795783; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=126795783]").text(description); $(".js-view-count[data-work-id=126795783]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 126795783; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='126795783']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "1eba1c5210d7cc621a1cc73315495279" } } $('.js-work-strip[data-work-id=126795783]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":126795783,"title":"Antonio Ruíz Caballero. 2023. 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Coz Téstar. 2020. Rumberas matanceras: Un canto a la memoria. Columbia: Unos y Otros Ediciones, 152 pp." class="work-thumbnail" src="https://attachments.academia-assets.com/107281065/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/108844105/Roxana_M_Coz_T%C3%A9star_2020_Rumberas_matanceras_Un_canto_a_la_memoria_Columbia_Unos_y_Otros_Ediciones_152_pp">Roxana M. Coz Téstar. 2020. Rumberas matanceras: Un canto a la memoria. Columbia: Unos y Otros Ediciones, 152 pp.</a></div><div class="wp-workCard_item"><span>Contrapulso - Revista Latinoamericana de Estudios en Música Popular</span><span>, Oct 11, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">A casi diez años de fundada la Asociación de Mujeres Rumberas de Matanzas (Cuba, 2013), Unos y Ot...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">A casi diez años de fundada la Asociación de Mujeres Rumberas de Matanzas (Cuba, 2013), Unos y Otros Ediciones publicó el libro "Rumberas matanceras: Un canto a la memoria" (2020). Escrito por Roxana M. Coz Téstar, este volumen es resultado de su investigación de grado para obtener el título de Licenciada en Música, Perfil Musicología, por la Universidad de las Artes ISA (Cuba, 2016). Además, para la realización del trabajo de campo contó con la Beca de Investigación María Teresa Linares otorgada por el Proyecto Timbalaye como grupo promotor de la cultura cubana en el ámbito internacional, y la Asociación Hermanos Saiz, organización que agrupa a la vanguardia artística y juventud intelectual del país.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="690762599ba36969f5ecaaf7a03f8b81" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":107281065,"asset_id":108844105,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/107281065/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="108844105"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="108844105"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 108844105; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=108844105]").text(description); $(".js-view-count[data-work-id=108844105]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 108844105; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='108844105']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "690762599ba36969f5ecaaf7a03f8b81" } } $('.js-work-strip[data-work-id=108844105]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":108844105,"title":"Roxana M. Coz Téstar. 2020. Rumberas matanceras: Un canto a la memoria. 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Con la edición de este ejemplar se busca visibilizar expresiones musicales caribeñas que trasciendan sus propios marcos territoriales de alcance local, regional y/o nacional. Con base en ello, se espera una especial incorporación de textos que enfaticen en aquellas músicas creadas en/desde/para el Caribe insular y las costas caribeñas del Continente americano; como también posibiliten la generación de saberes glocales y reflexiones transnacionales colectivos desde nuestra región.<br /><br />Hasta el momento, las prácticas sonoro-musicales caribeñas han sido poco estudiadas en sus relaciones dialógicas con los diferentes territorios y naciones que integran la pretendida cultura caribeña. En ello, un hito importante es el libro Música latinoamericana y caribeña (1995) de las profesoras Zoila Gómez y Victoria Eli. Sin embargo, a casi treinta años de su publicación, aún las músicas caribeñas siguen siendo una práctica pendiente de abordar en nuestras instituciones académicas y centros de investigación. Bajo ese tenor, la siguiente convocatoria intenta contribuir a la visibilidad de aquellos estudios que prioricen lecturas transnacionales de escenas musicales glocales gestadas de modo colectivo.<br /><br />Para ello, entendemos a los saberes glocales como aquellos conocimientos situados en los espacios liminales que gestan prácticas sonoro-musicales en los intersticios de escenas locales y globales, dadas en los ámbitos tradicionales, folklóricos y/o populares. Además, con el término transnacional aludimos a la necesidad de reflexiones sobre aquellos campos sociales que transcienden las fronteras políticas de nuestros países, para conformar una pretendida música caribeña como forma de producción privativa de la región. Por la propia naturaleza del tema propuesto, se desea poner a dialogar a las músicas caribeñas como objeto de estudios, sujetos-actores de dichas escenas, así como sus prácticas socioculturales.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="680833b807517bf43df5000875e31712" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":105530212,"asset_id":106293855,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/105530212/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="106293855"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="106293855"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 106293855; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="87970275"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/87970275/El_Sincopado_Habanero_Bolet%C3%ADn_Digital_del_Gabinete_de_Patrimonio_Musical_Esteban_Salas_Vol_VII_mayo_agosto_2022"><img alt="Research paper thumbnail of El Sincopado Habanero Boletín Digital del Gabinete de Patrimonio Musical Esteban Salas Vol. VII mayo/agosto 2022" class="work-thumbnail" src="https://attachments.academia-assets.com/92049952/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/87970275/El_Sincopado_Habanero_Bolet%C3%ADn_Digital_del_Gabinete_de_Patrimonio_Musical_Esteban_Salas_Vol_VII_mayo_agosto_2022">El Sincopado Habanero Boletín Digital del Gabinete de Patrimonio Musical Esteban Salas Vol. VII mayo/agosto 2022</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://havanauniversity.academia.edu/MiriamEscuderoSuastegui">Miriam Escudero Suastegui</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unam.academia.edu/PabloAlejandroSu%C3%A1rezMarrero">Pablo Alejandro Suárez Marrero</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/LeannelisC%C3%A1rdenasD%C3%ADaz">Leannelis Cárdenas Díaz</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/PriscaMartinezPereira">Prisca Martínez Pereira</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://unt.academia.edu/malenakuss">Malena Kuss</a></span></div><div class="wp-workCard_item"><span>El Sincopado Habanero </span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Diez años de continua labor han caracterizado el desempeño del Gabinete de Patrimonio Musical Est...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Diez años de continua labor han caracterizado el desempeño del Gabinete de Patrimonio Musical Esteban Salas, de la Oficina del Historiador de la Ciudad de La Habana, fundado el 12 de junio de 2012, por encomienda de Eusebio Leal Spengler y Raida Mara Suárez. Ahora, la pregunta de rigor se impone: ¿Cuáles son los principales retos de la próxima década? <br />Ante la cual, solo hay una respuesta: Continuar la obra de restauración y valoración del patrimonio musical. <br />Tenemos por delante la conclusión de varios volúmenes de la colección Patrimonio Musical Cubano sobre música del siglo XIX, junto al Centro de Investigación y Desarrollo de la Música Cubana (Cidmuc), el Museo Nacional de la Música y la Biblioteca Nacional de Cuba. Además, nos proponemos completar con éxito la acreditación de la Maestría en Gestión del Patrimonio Histórico-Documental de la Música, del Colegio Universitario San Gerónimo de La Habana (Universidad de La Habana); así como celebrar el III Taller Internacional de Patrimonio Musical y los próximos eventos de gestión de conciertos y grabaciones. Todo ello y más ha de redundar en el propósito fundamental del Gabinete, que es fomentar la preservación de la memoria cultural. <br />En este número, dedicado a festejar una década prolífica, tuve la dicha de intercambiar con Pablo Suárez, comprometido colega, ideas sobre un capítulo de su tesina, innovadora en la reflexión, desde la Oficina del Historiador y el Colegio Universitario San Gerónimo de La Habana, sobre la gestión del patrimonio musical. <br />Ilustramos su artículo con imágenes de archivo, que testimonian el actuar pionero de Pablo Hernández Balaguer y Odilio Urfé. Además, con el presente artículo, rendimos tributo a otro grande, que partió al cierre de estas páginas, Radamés Giro, a quien mucho debe la edición musical en Cuba. <br />Por otra parte, dejamos constancia de la labor del Cidmuc y el Museo Nacional de la Música, de la mano de sus gestores Laura Vilar y Jesús Gómez Cairo. <br />En «Documenta Musicae», se definen las áreas de trabajo del Gabinete, sus resultados y los 28 actores, que han sido y son parte de este colectivo multifacético. Mientras «Pentagramas del Pasado» publica una obra inédita, de Esteban Salas, antiguo testimonio de la actividad compositiva en Cuba, que valida su nombre como referente fundacional de la cultura cubana. <br />La reflexión de un espectador competente es el texto escrito por la profesora Prisca Martínez sobre el VI Encuentro de Jóvenes Pianistas, que inicia la sección «A Contratiempo»; seguida de los ecos del 21 Congreso Quinquenal de la Sociedad Internacional de Musicología y el estreno, <br />en New York, de Manita en el suelo, ópera bufa con música de Alejandro García Caturla y libreto de Alejo Carpentier. También se suma el acontecer de la Feria Internacional Cubadisco 2022, un fonograma protagonizado por la quena y el programa Rutas y Andares. <br />La musa de Jennifer Ancizar ha de inspirarnos para vencer los desafíos que vendrán. Se requiere voluntad y vocación para sostener la superación constante del Gabinete; perfeccionar la calidad de los productos culturales que gestionamos; certificarlos a través del criterio competente de evaluadores externos; desarrollar estrategias de comunicación para un público meta; y mantener la excelencia científica en los programas docentes. <br />En este tiempo juntos, aprendimos de Eusebio Leal , Raida Mara Suárez, María Antonia Virgili y Salomón Mikowsky, que todo esfuerzo es necesario para comunicar el arte con excelencia. <br />Debemos perseverar en la construcción de un público cautivo, contribuir a la educación artística y defender la cultura como lenguaje de entendimiento, porque cuando el arte «habla» es más fácil unir. <br /> <br />Miriam Escudero</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="dd40756642971c57db17335600647b35" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":92049952,"asset_id":87970275,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/92049952/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="87970275"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="87970275"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 87970275; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="81714798"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/81714798/El_Sincopado_Habanero_Bolet%C3%ADn_Digital_del_Gabinete_de_Patrimonio_Musical_Esteban_Salas_Vol_VII_enero_abril_2022"><img alt="Research paper thumbnail of El Sincopado Habanero Boletín Digital del Gabinete de Patrimonio Musical Esteban Salas Vol. VII enero/abril 2022" class="work-thumbnail" src="https://attachments.academia-assets.com/87663591/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/81714798/El_Sincopado_Habanero_Bolet%C3%ADn_Digital_del_Gabinete_de_Patrimonio_Musical_Esteban_Salas_Vol_VII_enero_abril_2022">El Sincopado Habanero Boletín Digital del Gabinete de Patrimonio Musical Esteban Salas Vol. VII enero/abril 2022</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://havanauniversity.academia.edu/MiriamEscuderoSuastegui">Miriam Escudero Suastegui</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unam.academia.edu/PabloAlejandroSu%C3%A1rezMarrero">Pablo Alejandro Suárez Marrero</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://ucm.academia.edu/VivianaReinaJorr%C3%ADn">Viviana Reina Jorrín</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://ohch.academia.edu/AdrianAlvarezG%C3%A1lvez">Adrian A Alvarez Gálvez</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/GabrielaOrtizMart%C3%ADnez">Gabriela Ortiz Martínez</a></span></div><div class="wp-workCard_item"><span>El Sincopado Habanero </span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Cual bitácora del patrimonio histórico-cultural, El Sincopado Habanero, boletín del Gabinete de P...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Cual bitácora del patrimonio histórico-cultural, El Sincopado Habanero, boletín del Gabinete de Patrimonio Musical Esteban Salas, presenta su registro número 20. Se trata de anotar y estudiar en detalle, los procesos que, en torno al patrimonio musical, suceden en nuestra contemporaneidad. <br />Ya ronda la centena, lo que comenzó siendo un cuaderno breve de 18 páginas. La tripulación de esta barca, que transporta contenedores de saber, documenta con reflexiones, fotos, alegorías, íconos y estadísticas el acontecer cultural dinamizado por la música, para que cuando luego otros encuentren las huellas de la memoria.<br />Desde Chile, el Dr. Cristián Guerra, evalúa con mirada crítica el desempeño de El Sincopado. Le otorga autoridad su posición al frente de una de las revistas más antiguas y reconocidas de América Latina: Revista Musical<br />Chilena. Los criterios que plantea desde su experticia en la musicología se vuelven pertinentes, al ser este arte, desde sus soportes documentales, el centro que nuclea cada una de nuestras ediciones. Bajo su perspectiva, el desafío está en permanecer, no en estandarizar de acuerdo a los parámetros más estrictos de una revista científica. En este sentido, se ha de hacer ciencia aplicada y no solo reflexiva, máxime cuando nuestra perspectiva del patrimonio musical busca su interacción con los portadores del presente, devuelve memorias y añade nuevos registros.<br />Corresponde a Adria Suárez-Argudín, con la anuencia de la academia, que respalda el título de maestría que le ha otorgado la Universidad de La Habana, diseccionar la estructura en pro de una sistematización que permita regularizar, en un manual, las acciones a seguir para perpetuar esta iniciativa fundadora.<br />Pablo Suárez, desde un enfoque iconológico, examina las portadas del Boletín, buscando la relación entre el lenguaje visual y sonoro, entre la metáfora de la imagen y la sugestión de la música, a partir de la singular relación que se establece entre el artista invitado a cada número y las composiciones que se publican en «Pentagramas del Pasado». Testimonio fehaciente de este proceso quedó capturado en la imagen de contraportada, en la que el compositor Ernesto Oliva, ha regalado a este boletín y a sus lectores su obra Guantabanera (2022), toca al piano frente al artista de la plástica Nelson Villalobos, para que las musas conecten sus lenguajes.<br />La continuidad es la forma de supervivencia de los procesos culturales, por eso de la experiencia de Opus Habana se desgaja El Sincopado Habanero. Sus fundadores, Argel Calcines, Viviana Reina Jorrín y Yadira Calzadilla testimonian, con criterio de autoridad, las circunstancias y las pautas que dieron origen a la presente publicación.<br />«A Contratiempo», da razón de lo sucedido con la música en la 30 Feria Internacional del Libro de La Habana; del nuevo exlibris de la Biblioteca-Fonoteca Fray Francisco Solano; del comienzo de la III Edición de la Maestría en Gestión del Patrimonio Histórico-Documental de la Música, en el Colegio Universitario San Gerónimo de La Habana (Universidad de La Habana); la celebración online del XII Coloquio Internacional y XVIII Premio de Musicología Casa de las Américas; de la puesta de Don Giovanni en La Habana; pinceladas del V Congreso de Arlac; y el más reciente disco del pianista y compositor cubano José María Vitier.<br />Con estos 20 números y 6 años de trabajo, apenas legitimamos un proceder y razones para perseverar en este viaje cultural.<br /><br />Miriam Escudero</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="51987337e4bd48e3fc59b6aca9471b43" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":87663591,"asset_id":81714798,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/87663591/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="81714798"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="81714798"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 81714798; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="49324394"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/49324394/Escenas_diversas_drama_humor_y_m%C3%BAsica_CALL_FOR_BOOK_CHAPTERS"><img alt="Research paper thumbnail of Escenas diversas: drama, humor y música - CALL FOR BOOK CHAPTERS" class="work-thumbnail" src="https://attachments.academia-assets.com/67700220/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/49324394/Escenas_diversas_drama_humor_y_m%C3%BAsica_CALL_FOR_BOOK_CHAPTERS">Escenas diversas: drama, humor y música - CALL FOR BOOK CHAPTERS</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Vernon Press invita a propuestas de capítulos para el libro “Escenas diversas: drama, humor y mús...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Vernon Press invita a propuestas de capítulos para el libro “Escenas diversas: drama, humor y música”. Con la edición de este ejemplar se busca reflexionar sobre las escenas musicales de alcance local, regional y/o nacional donde convergen expresiones discursivas de drama y humor. <br />En primera instancia, se asume a la escena musical como el espacio local donde surge o es apropiado un estilo musical específico (Bennet, 2004), definición común entre músicos y críticos. Además, comprendemos que dicho término se ha utilizado para “[…] designar los contextos en los que grupos de productores, músicos y aficionados comparten colectivamente sus gustos musicales comunes y así, también colectivamente se distinguen de otros” (Heredia, 2017).<br />Sin embargo, nos subscribimos a una idea más diversa y porosa donde convergen, entrecruzan y dialogan discursos textuales, sonoros y performativos, posibles de estudiar desde las ciencias sociales, humanísticas y artísticas. De ahí que, asumimos a las escenas musicales como “[…] un espacio cultural en el cual un rango de prácticas musicales coexisten e interactúan entre ellas dentro de una variedad de procesos de diferenciación, y de acuerdo con una amplia variedad de trayectorias de cambio y transfertilización” (Straw, 1991).<br />Bajo ese tenor, se esperan contribuciones de capítulos que cubran las siguientes temáticas generales, entre otras que puedan proponer los autores:<br />- Escenas musicales como espacio de legitimación.<br />- Configuración de escenas musicales híbridas.<br />- Humor en las escenas musicales.<br />- Drama y sentidos musicales (trans-)locales. <br />- Escenas musicales y poder.<br />- Emergencia de nuevas escenas musicales.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="03b089bad504a99e7eb08c76bf5f7b0d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":67700220,"asset_id":49324394,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/67700220/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="49324394"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="49324394"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 49324394; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="40610995"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/40610995/El_Sincopado_Habanero_Bolet%C3%ADn_Digital_del_Gabinete_de_Patrimonio_Musical_Esteban_Salas_Vol_IV_mayo_ago_2019"><img alt="Research paper thumbnail of El Sincopado Habanero Boletín Digital del Gabinete de Patrimonio Musical Esteban Salas Vol. IV mayo/ago 2019" class="work-thumbnail" src="https://attachments.academia-assets.com/61806992/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/40610995/El_Sincopado_Habanero_Bolet%C3%ADn_Digital_del_Gabinete_de_Patrimonio_Musical_Esteban_Salas_Vol_IV_mayo_ago_2019">El Sincopado Habanero Boletín Digital del Gabinete de Patrimonio Musical Esteban Salas Vol. IV mayo/ago 2019</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://havanauniversity.academia.edu/MiriamEscuderoSuastegui">Miriam Escudero Suastegui</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unam.academia.edu/PabloAlejandroSu%C3%A1rezMarrero">Pablo Alejandro Suárez Marrero</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://ucm.academia.edu/VivianaReinaJorr%C3%ADn">Viviana Reina Jorrín</a></span></div><div class="wp-workCard_item"><span>El Sincopado Habanero</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La dicotomía tangible-intangible define la naturaleza del arte musical desde su carácter patrimon...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La dicotomía tangible-intangible define la naturaleza del arte musical desde su carácter patrimonial, en una constante alternancia entre la performance y el soporte material, la escucha y la partitura, el intérprete y su instrumento... Esta premisa, fundamento y razón de ser del Gabinete de Patrimonio Musical Esteban Salas, ha determinado tres áreas de desempeño: investigación, gestión y docencia. La puesta en valor se verifica a través de acciones de localización y análisis del patrimonio musical; la gestión abarca tareas de preservación y difusión; y, como parte de la docencia, se comparten las lecciones aprendidas que garantizan la continuidad del proceso. Todo ello se articula a partir de una compleja red de relaciones, en la que participa la Oficina del Historiador de La Habana como órgano rector, con el apoyo académico y científico del Colegio Universitario San Gerónimo de La Habana (Universidad de La Habana), el Centro de Investigación y Desarrollo de la Música Cubana (Cidmuc) y muchas otras instituciones afines. Para pensar y debatir sobre los resultados de este actuar, se ha creado el Taller Internacional de Patrimonio Musical: Documenta Musicæ.<br />Con tal propósito se convocó por segunda vez —del 24 al 29 de junio de 2019— un grupo de expertos para compartir ponencias en dicho simposio. Junto a ellos, defendieron sus tesis los estudiantes de la segunda edición de la Maestría en Gestión del Patrimonio Histórico-Documental de la Música y se ejecutaron conciertos temáticos con énfasis en la significación de los 500 años de fundación de La Habana.<br />Hemos de aprender de aquellos que nos han precedido en la gestión con un criterio competente de valor. El maestro Harold Gramatges y su obra de vida que tributó a la creación, la gestión y la docencia, permitió a Ivette Céspedes estructurar un modelo a seguir por nuestros noveles compositores. Es el caso de Alexis Rodríguez quien se aprestó a replicarlo y dio muestras de ello en su ciclo para guitarra Por las calles de mi Habana Vieja, que ha sido presentado en concierto y publicado en partitura en este número de El Sincopado Habanero, lo cual tributa a acrecentar nuestro patrimonio musical. Buscando el mismo fin, la tesis de Ubail Zamora revela el acontecer de la obra de Lecuona, Prats y Roig, al documentar aquellas zarzuelas suyas que se han preservado en los discos de vinilo.<br />Esta vez «A contratiempo» se centra en dar cuenta de los gestores y los eventos realizados en torno al Taller, con acciones de difusión en concierto y reconocimientos que validan la obra y los documentos, testimonio material de la música.<br />Igualmente, la obra pedagógica del maestro Salomón Mikowsky recibió el más alto galardón de la Universidad de las Artes de Cuba, que le otorgó el título de Doctor Honoris Causa por su contribución a la enseñanza del piano.<br />La portada de este número nos sugiere que «habrá que escuchar para ver» esa conexión entre música y gestualidad, «visible» en las pinturas de Adrián Pellegrini. De igual forma, tal obra recuerda que, ya sea tangible o intangible, el patrimonio musical ha de ser defendido para preservar a toda costa la memoria cultural. <br /><br />Miriam Escudero<br />Directora de El Sincopado Habanero</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="549a0c1ac4ef6b99b188b50558a97684" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61806992,"asset_id":40610995,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61806992/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="40610995"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="40610995"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 40610995; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="35239896"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/35239896/El_Sincopado_Habanero_Bolet%C3%ADn_del_Gabinete_de_Patrimonio_Musical_Esteban_Salas_Vol_II_mayo_agosto_2017"><img alt="Research paper thumbnail of El Sincopado Habanero Boletín del Gabinete de Patrimonio Musical Esteban Salas Vol. II mayo/agosto 2017" class="work-thumbnail" src="https://attachments.academia-assets.com/55099426/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/35239896/El_Sincopado_Habanero_Bolet%C3%ADn_del_Gabinete_de_Patrimonio_Musical_Esteban_Salas_Vol_II_mayo_agosto_2017">El Sincopado Habanero Boletín del Gabinete de Patrimonio Musical Esteban Salas Vol. II mayo/agosto 2017</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://havanauniversity.academia.edu/MiriamEscuderoSuastegui">Miriam Escudero Suastegui</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uva-es.academia.edu/LizMaryD%C3%ADazP%C3%A9rezdeAlejo">Liz Mary Díaz Pérez de Alejo</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://unam.academia.edu/PabloAlejandroSu%C3%A1rezMarrero">Pablo Alejandro Suárez Marrero</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Se sabe que el piano ha sido instrumento favorito en Cuba desde que el Papel Periódico de la Hava...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Se sabe que el piano ha sido instrumento favorito en Cuba desde que el Papel Periódico de la Havana (1790-1805), comentara anuncios de su venta y uso en conciertos durante la última década del siglo XVIII. En la siguiente centuria, muchas fueron las publicaciones periódicas que dedicaron un espacio a la música. Cada una de ellas incluían piezas por entrega, que comenzaron a conformar un repertorio propio del piano en la Isla. <br />Nuestra escuela de pianismo tiene entre sus exponentes, como intérprete y pedagoga, a la profesora Hilda Elvira Santiago Novo. Matancera de estirpe y de corazón, pertenece a una pléyade de músicos que ha dado esa tierra fértil para nuestra cultura. Fue Elvira objeto de estudio de la tesis de su hija, Virginia Avilés Santiago, para obtener el grado de máster en Gestión del Patrimonio Histórico-Documental de la Música, en el Colegio Universitario San Gerónimo de La Habana (Universidad de La Habana). Ella realizó una investigación, con herramientas que permiten historiar la vida de un intérprete y sus resultados artísticos, a fin de dar a conocer una personalidad imprescindible para la genealogía de formadores y músicos ilustres de la Atenas de Cuba.<br />Asociada también a la Maestría que ofrece el Colegio, la Dra. Liz Mary Díaz Pérez de Alejo —compositora y profesora de este programa de posgrado, además de especializarse en la vida y obra del compositor e intelectual Joaquín Nin— se suma al espacio de El Sincopado Habanero. En esta ocasión, propone plasmar en nuestras páginas los resultados del estudio que ha realizado sobre este importante músico hispano-cubano. A propósito de esta investigación, se publican dos contradanzas inéditas de Nin en la sección «Pentagramas del pasado».<br />La tradición del piano, esa que se iniciara en el siglo XVIII, ha estado latente a lo largo de los años en la Mayor de las Antillas. Así es posible encontrar en la sección «Documenta Musicae», un artículo escrito por el investigador Daniel Vasconcellos, que nos permite acercarnos a cómo la filatelia cubana ha dialogado con este instrumento en sus emisiones postales.<br />Con tal tradición en nuestra historia musical, actualmente una de las manifestaciones pianísticas más apreciadas por el público en La Habana, es el Encuentro de Jóvenes Pianistas. Desde hace 5 años, a lo largo de esta temporada de conciertos, se han presentado un centenar de pianistas en las salas del Centro Histórico. Su director artístico ha sido también un cubano de convicción, Salomón Gadles Mikowsky. Él ha querido compartir con nosotros la excelencia de su trabajo en Manhattan School of Music de New York, a través de los recitales de sus mejores alumnos. Ellos a su vez han compartido con los colegas cubanos, para entregar a Cuba los frutos preciosos de su arte. Claudia Fallarero, con su habitual dominio de la crónica y la crítica musical, realiza una exégesis del programa de este año y comenta sus hitos. A Salomón, y a su generosidad, dedicamos este número de El Sincopado Habanero.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e96a7efd881ce25ed41e48e8ca5d1c01" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":55099426,"asset_id":35239896,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/55099426/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="35239896"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="35239896"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35239896; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="34111340"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/34111340/El_Sincopado_Habanero_Bolet%C3%ADn_del_Gabinete_de_Patrimonio_Musical_Esteban_Salas_Vol_II_enero_abril_2017"><img alt="Research paper thumbnail of El Sincopado Habanero Boletín del Gabinete de Patrimonio Musical Esteban Salas Vol. II enero/abril 2017" class="work-thumbnail" src="https://attachments.academia-assets.com/64087323/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/34111340/El_Sincopado_Habanero_Bolet%C3%ADn_del_Gabinete_de_Patrimonio_Musical_Esteban_Salas_Vol_II_enero_abril_2017">El Sincopado Habanero Boletín del Gabinete de Patrimonio Musical Esteban Salas Vol. II enero/abril 2017</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://havanauniversity.academia.edu/MiriamEscuderoSuastegui">Miriam Escudero Suastegui</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unam.academia.edu/RenierGarnier">Renier Garnier</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/Margaritapearce">Margarita Pearce</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://unam.academia.edu/PabloAlejandroSu%C3%A1rezMarrero">Pablo Alejandro Suárez Marrero</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">A propósito del Taller Internacional de Patrimonio Histórico-Documental de la Música en Hispanoam...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">A propósito del Taller Internacional de Patrimonio Histórico-Documental<br />de la Música en Hispanoamérica, se publica este número especial de El Sincopado Habanero.<br />La singularidad de esta edición propone una mirada a los diferentes temas del patrimonio musical, abordados en los ya 50 números de la revista Opus Habana, que desde 1996 viene publicando la Oficina del Historiador de la Ciudad de La Habana. Con el propósito de dejar testimonio impreso del acontecer cultural en el Centro Histórico, esta publicación contiene múltiples trabajos de interpretación del patrimonio, entrevistas a los principales actores de la intelectualidad cubana, infografías analíticas y reportajes sobre el acontecer del programa<br />cultural. Su editor general, Argel Calcines, define como la función primordial de Opus Habana: «Legitimar la parte más antigua de la urbe como núcleo simbólicoidentitario de la habaneridad y, por extensión, de la cubanidad y con ello fortalecer la visualidad internacional de nuestra cultura, priorizando su encuentro con lo global trascendente».</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="24f2bb9584274e472724c665a32b4955" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64087323,"asset_id":34111340,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64087323/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="34111340"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="34111340"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 34111340; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="30031450"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/30031450/El_Sincopado_Habanero_Bolet%C3%ADn_del_Gabinete_de_Patrimonio_Musical_Esteban_Salas_Vol_I_abril_junio_2016"><img alt="Research paper thumbnail of El Sincopado Habanero/ Boletín del Gabinete de Patrimonio Musical Esteban Salas/ Vol. I abril-junio 2016" class="work-thumbnail" src="https://attachments.academia-assets.com/60345362/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/30031450/El_Sincopado_Habanero_Bolet%C3%ADn_del_Gabinete_de_Patrimonio_Musical_Esteban_Salas_Vol_I_abril_junio_2016">El Sincopado Habanero/ Boletín del Gabinete de Patrimonio Musical Esteban Salas/ Vol. I abril-junio 2016</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://havanauniversity.academia.edu/MiriamEscuderoSuastegui">Miriam Escudero Suastegui</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/MariusD%C3%ADaz">Marius Díaz</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://unam.academia.edu/PabloAlejandroSu%C3%A1rezMarrero">Pablo Alejandro Suárez Marrero</a></span></div><div class="wp-workCard_item"><span>El Sincopado Habanero</span><span>, 2016</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Al arte de tañer los instrumentos de tecla, al piano y al órgano, dedicamos este número de El Sin...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Al arte de tañer los instrumentos de tecla, al piano y al órgano, dedicamos este número de El Sincopado Habanero.<br />Hace ya cuatro años que durante el mes de junio, en La Habana Vieja, se dan cita una veintena de jóvenes pianistas. Unos, egresados de la Manhattan School of Music de Nueva York, alumnos del maestro Salomón Mikowsky, cubano por nacimiento y por convicción.<br />Otros, provenientes de la escuela cubana de piano y egresados de las aulas de conservatorios de toda la Isla. Tal evento es prestigiado por el programa cultural de la Oficina del Historiador de la Ciudad y sus salas de concierto en el Centro Histórico.<br />Con un mes de duración, se presenta ante el público de La Habana y de todo el país —gracias a la labor de difusión de emisoras como Habana Radio y CMBF, Radio Musical Nacional—, una amplia gama del repertorio pianístico universal y local; antiguo y contemporáneo.<br />Cuando se trata de obras de la pianística cubana, apenas comenzamos a develar la inmensa producción musical que tuvo lugar en el siglo XIX en Cuba. Es por eso que, como parte de la colección «Patrimonio Musical Cubano» del sello editorial CIDMUC, presentamos el libro, Música de salón de Santiago de Cuba, siglo XIX. Danzas para piano (2015) de la investigadora Franchesca Perdigón. Luego de una paciente búsqueda, la autora pudo localizar ochenta composiciones de músicos criollos, algunas de ellas, obras que se bailaron en los salones de Santiago de Cuba, durante el siglo XIX. Todo hace indicar que en las orquestas de la época, las danzas hacían furor. Aquellas que alcanzaban mayor popularidad, eran luego transcritas en versión para piano lo que permitió la conservación de muchas de ellas. En estas piezas, el ritmo marcadamente sincopado parece sugerir a los bailadores movimientos de una sensualidad que era escandalosa en la época, pues más que una factura pianística compleja, el intérprete hallará en ellas una dificultad grande a la hora de «llevar el compás». <br />En cuanto al órgano, publicamos resultados de las acciones de catalogación de instrumentos, en este caso derivados del Diplomado en patrimonio musical organístico que, radicado en el Colegio Universitario San Gerónimo de La Habana, ha impulsado esta labor con el patrocinio del proyecto «Nuestro patrimonio, nuestro futuro-el fomento de la enseñanza del patrimonio musical como vector de cambio social» subvencionado por la Unión Europea.<br />Por último nos acercamos a otras dos aristas del Patrimonio Musical: desentrañar los secretos de la iconografía musical y dar a conocer la obra del decano de los compositores cubanos, el maestro Alfredo Diez Nieto, a quien rendimos sincero homenaje.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="739de7a6fdb437cafef407264c5522a6" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":60345362,"asset_id":30031450,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/60345362/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="30031450"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="30031450"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 30031450; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="30030660"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/30030660/El_Sincopado_Habanero_Bolet%C3%ADn_del_Gabinete_de_Patrimonio_Musical_Esteban_Salas_Vol_I_ene_mar_2016"><img alt="Research paper thumbnail of El Sincopado Habanero/ Boletín del Gabinete de Patrimonio Musical Esteban Salas/ Vol. I ene-mar 2016" class="work-thumbnail" src="https://attachments.academia-assets.com/50660016/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/30030660/El_Sincopado_Habanero_Bolet%C3%ADn_del_Gabinete_de_Patrimonio_Musical_Esteban_Salas_Vol_I_ene_mar_2016">El Sincopado Habanero/ Boletín del Gabinete de Patrimonio Musical Esteban Salas/ Vol. I ene-mar 2016</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://havanauniversity.academia.edu/MiriamEscuderoSuastegui">Miriam Escudero Suastegui</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://unam.academia.edu/PabloAlejandroSu%C3%A1rezMarrero">Pablo Alejandro Suárez Marrero</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Desde 2011 comienzan a fomentarse en el ámbito académico del Colegio Universitario San Gerónimo d...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Desde 2011 comienzan a fomentarse en el ámbito académico del Colegio Universitario San Gerónimo de La Habana (Universidad de La Habana), estudios de posgrado especializados en patrimonio musical. Un año después, en 2012, se crea el Gabinete de patrimonio musical Esteban Salas de la Oficina del Historiador de la Ciudad de La Habana como entidad especializada en el estudio de fuentes documentales relativas al hecho musical orientado en dos direcciones: la obra artística, considerada patrimonio inmaterial y producto social; y los documentos, aquellos que informan sobre una actividad musical en cualquier soporte, convencional o no.<br />Para conjugar las tareas de docencia y gestión se establece de 2014 a 2017, un grupo de investigación con el auspicio del proyecto Nuestro patrimonio, nuestro futuro-el fomento de la enseñanza del patrimonio musical como vector de cambio social, subvencionado por la Comisión Europea, y gestionado por la Oficina del Historiador de la Ciudad de La Habana, OIKOS y la Universidad de Valladolid, España, que propone el desarrollo de las siguientes líneas temáticas: preservación y estudio de documentos musicales con especial énfasis en el patrimonio musical cubano y latinoamericano; catalogación y estudio de documentos musicales en bibliotecas y archivos así como de transmisión multimedia; procesos que vinculan música, cultura y educación; gestión y manejo sociocultural del patrimonio musical; y fundamentos de la práctica contemporánea de la interpretación musical históricamente informada y de la difusión del patrimonio musical.<br />Estas líneas se aplican tanto a las investigaciones gestionadas directamente por el Gabinete como a los posgrados: Diplomado en patrimonio musical hispano, Diplomado en patrimonio musical organístico y Maestría en gestión del patrimonio histórico-documental de la música del Colegio Universitario San Gerónimo de La Habana. Como resultado se han concluido más de cien trabajos de investigación que abarcan diferentes aristas del patrimonio musical, localizado en diversas regiones de la isla y gestionado por actores de múltiples instituciones culturales.<br />Con el propósito de divulgar estos resultados y socializarlos entre los grupos destinatarios y beneficiarios de las acciones del proyecto —profesionales vinculados a la gestión, profesores y estudiantes—, se presenta este boletín digital, que contendrá siempre un trabajo inédito, una partitura, la representación gráfica de una escena musical, noticias relacionadas con el ámbito del patrimonio sonoro y las ilustraciones de un artista visual que habrá de inspirarse en la partitura de cada número.<br />Se trata, por tanto de «sincopar la música» porque esa es la esencia misma de la cubanidad: alterar la monotonía, provocar la sensualidad e invitar al movimiento desde este observatorio de La Habana Vieja, donde se concilia el arte con su función social y cada lección aprendida ha de ser compartida para preservar lo más valioso que es nuestra memoria.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7392fbc63f0462848211eaca9ef66edf" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":50660016,"asset_id":30030660,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/50660016/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="30030660"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="30030660"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 30030660; 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