How Do I Delete All Of My Jibjab Account

Hispanic Chamber music by Consuelo Carredano XIX (II)

chamber music to bring the chapter, you need to know the overall structure of the volume. The index of the book is divided into eight chapters: I.
The transit of the viceroys of Independent States (Aurelio Tello)
II. Nation and identity in the songs and dances Creole (Victoria Eli)
III. Religious music and cathedral chapels in the new republican order (Consuelo Carredano)
IV. The Lyric Theatre (Victoria Consuelo Carredano and Eli)
V. The piano (Consuelo Carredano)
VI. Artistic and musical societies (Victoria Eli)
VII. CHAMBER MUSIC (Consuelo Carredano)
VIII. Education, criticism and journals (Clara Meierovich).

Despite my passion for music genres, musicologist my reason tells me that not a good idea to use them to organize a historiographical discourse as it addresses the volume. Its use can end up obscuring the two axes, in my mind, should organize retrograde historical narratives: the geography and chronology.

This structural problem usually ends up affecting the chapter. In fifteen pages, the author must face the challenge of telling a story that encompasses a genre, a hundred years and a continent. The result is not just convinced me.
After a first reading, I find the following objections.
1) Lagoons repertoire: I am not an expert in chamber music of Latin America, only a curious interest. So, I'm surprised that some works I know, because they are recorded or edited-not included in the chapter. The author complains of the small size of the repertoire and at the same time, forget the quartet Teresa Carreño (1895), the Julian Carrillo (1903), a sonata for violin and piano by Guillermo Uribe-Holguín (1909), the trio with piano Manuel Ponce (c. 1912) ... A warning to the clueless: Although some of these pieces were written in the twentieth century, chronologically, it is purely nineteenth-century works. If Taruskin Dahlhaus and a close the nineteenth century European music in 1914, why close the Hispanic in 1900? (NOTE: time limits on the volume, I find no reflection in the book)

2) Problems with fonts, by necessity, Chapter must be a synthesis from secondary sources. The materials of which the chapter is built are the stories of domestic music-some very stale, and the Dictionary of English and Latin American music of the ICCMU . However, I do not think that working with literature exemption to understand and assess the portfolio to which it refers. I would be surprised to find, in a study of this nature, new data from archives and local newspaper archives. However, awaiting trial on direct-personal-musical works cited.

3) Arguably line of interpretation: from the beginning of the chapter, the author seeks to assert a "Classical period" in Latin American music. Citing Carpentier, then refers to a "strange process of regression" because of the Italian opera ends with the efforts and progress, salvation, reform, etc. the end of the century. It seems that the author takes this story of redemption, well known in musical historiography English-default. The book takes "aged" (as the same directors declared in the prologue) and, by not proposing an alternative interpretation is embedded in the speech. Today, I think it will musicological discourse in other ways.

Beyond these objections, the chapter Consuelo Carredano is the best synthesis available on the Latin American chamber music of the nineteenth. Hopefully our musicological community (although I'm not sure that something like this exists) to produce new materials / new interpretations that allow us to go further and deeper.