From the return of Mercedes Sosa to the assumption of Raúl Alfonsín: emerging actors in Argentine folklore

Authors

  • Tomás Agustín Mariani

Keywords:

Folklore, Argentina, Transition to Democracy

Abstract

The decline of the military government after the defeat in the Malvinas War opens a new stage in the folklore genre: the silencing of the last years to the zone of the field linked to the “militant song” is broken.

In the context of the “transition to democracy”, Mercedes Sosa —widening her repertoire— and other “consecrated” referents linked to the “militant song” return to act and edit discs, enabling and legitimizing productions of emerging actors with proposals of renovating intention.

In this sense, we highlight the discs of Antonio Tarragó Ros (1982), Chany Suárez (1982), Suna Rocha – Raúl Carnota (1983) and Teresa Parodi (1983). Following the social-discursive model proposed by Claudio Díaz, in this paper we propose an analysis of these four productions

Author Biography

Tomás Agustín Mariani

es compositor e intérprete de músicas populares latinoamericanas. Licenciado en Composición con Medios Electroacústicos (UNQ). Maestrando en Ciencias Sociales y Humanidades (UNQ). Integrante del proyecto Territorios de la Música Argentina Contemporánea (TeMAC), dirigido por Martín Liut (EUDA, UNQ). Ha realizado trabajos de investigación sobre el folklore y la cumbia argentina en la etapa democrática (1983-actualidad) y sobre relaciones entre músicas populares y académicas en Argentina. Auxiliar Académico en Historia de la Música II y III (UNQ), con el docente Martín Liut y con la docente Camila Juárez (2015-2017). Tutor del Taller de Vida Universitaria de la UNQ (2017-2018). Docente en el curso de extensión del programa de graduadas/os (UNQ) “Herramientas para la puesta en diálogo de músicas populares y académicas” (2017-2018). Docente de Historia de la Música II (UNQ, 2018).

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Published

2019-03-12

Issue

No. 19 (2018): Dosier: Musicology and Musical Cognition in Latin America

Section

Articles

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Copyright (c) 2019 Asociación Argentina de Musicología

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