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Singing salvation: Jesuit musics in ...

Aracena, Beth K.

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Singing salvation: Jesuit musics in colonial Chile, 1600-1767.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Singing salvation: Jesuit musics in colonial Chile, 1600-1767./
Author:	Aracena, Beth K.
Description:	346 p.
Notes:	Adviser: Philip V. Bohlman.
Contained By:	Dissertation Abstracts International60-08A.
Subject:	History, Latin American. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9943039
ISBN:	0599447192

Singing salvation: Jesuit musics in colonial Chile, 1600-1767.
Aracena, Beth K.

Singing salvation: Jesuit musics in colonial Chile, 1600-1767. - 346 p.

Adviser: Philip V. Bohlman.

Thesis (Ph.D.)--The University of Chicago, 1999.

This dissertation embraces postcolonial theory to examine musical discourses emanating from the encounter between Jesuit missionaries and the indigenous Araucanians in colonial Chile. It aims to redirect Latin American music scholarship by shifting focus to musical performance beyond cathedral walls, and to understand these creative activities as dynamic historical processes resulting from situations of culture contact.

ISBN: 0599447192Subjects--Topical Terms:

1017580
History, Latin American.

Singing salvation: Jesuit musics in colonial Chile, 1600-1767.
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020 $a 0599447192
035 $a (UnM)AAI9943039
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100 1 $a Aracena, Beth K. $3 1257573
245 1 0 $a Singing salvation: Jesuit musics in colonial Chile, 1600-1767.
300 $a 346 p.
500 $a Adviser: Philip V. Bohlman.
500 $a Source: Dissertation Abstracts International, Volume: 60-08, Section: A, page: 2728.
502 $a Thesis (Ph.D.)--The University of Chicago, 1999.
520 $a This dissertation embraces postcolonial theory to examine musical discourses emanating from the encounter between Jesuit missionaries and the indigenous Araucanians in colonial Chile. It aims to redirect Latin American music scholarship by shifting focus to musical performance beyond cathedral walls, and to understand these creative activities as dynamic historical processes resulting from situations of culture contact.
520 $a Chapter one contextualizes the Jesuits as social mediators whose promotion of song allowed for Araucanian and African traditions to enter contested spaces of religious discourse and political hierarchies through performance. In chapter two, I analyze musical settings of the catechism contained in indigenous-language <italic> gramáticas</italic> by Valdivia, Febrés, and Havestadt which reveal an enduring Jesuit tradition of liberal musical and textual borrowing. The repertory of anonymous <italic>villancicos</italic> conserved in the Santiago Cathedral Music Archive, the focus of chapter three, reflects Jesuit influence on music composition and ideology in colonial Chile; the collection portrays an extraordinary abundance of borrowing uncommon to other Iberian and Latin American fonts. My fourth chapter details the participation of individual social groups in Jesuit theater and processions during Holy Week and Corpus Christi illustrating the polyphony of voices impelling processes of hybridization and negotiation operative on the colonial frontier. Chapter five shifts the perspective of the preceding chapters to consider descriptions of Araucanian and African musics transmitted through historical documents in order to trace the development of colonialism on non-Western musical traditions as well as European repertories. This ethnomusicological focus continues in the concluding epilogue, which connects the past to the present by addressing issues of identity, representation, and hybridization relevant to the music of the indigenous peoples in Chile today.
590 $a School code: 0330.
650 4 $a History, Latin American. $3 1017580
650 4 $a Music. $3 516178
690 $a 0336
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710 2 0 $a The University of Chicago. $3 1017389
773 0 $t Dissertation Abstracts International $g 60-08A.
790 $a 0330
790 1 0 $a Bohlman, Philip V., $e advisor
791 $a Ph.D.
792 $a 1999
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9943039