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DE LA POLIFONÍA AL CANTO LLANO. RECONSTRUYENDO LAS PRÁCTICAS MÚSICOLITÚRGICAS EN LA CATEDRAL DE SANTIAGO DE CHILE (1721-1840)

2018; Sociedad Española de Musicología; Volume: 41; Issue: 2 Linguagem: Inglês

10.2307/26554762

0210-1459

A Gutiérrez Fernández, Alejandro Vera,

Cultural and Social Studies in Latin America

espanolEl repertorio musical cultivado en Hispanoamerica entre los siglos XVI y XIX ha sido objeto de importantes estudios y ediciones, desde aquellos fundacionales de Lange o Stevenson hasta nuestros dias. Sin embargo, y salvo excepciones, dichos trabajos adolecen con frecuencia de dos problemas cuando confrontan el repertorio sacro: 1) la omision del canto llano y 2) el descuido del contexto ceremonial. A estos problemas se anade un tercero no menor, y es que, por lo general, los trabajos dedicados al periodo colonial no abordan el periodo republicano y viceversa, pese a que, desde el punto de vista eclesiastico, tanto el marco administrativo como muchas de las practicas liturgicas tuvieron continuidad luego de la instauracion de las republicas. El presente trabajo pretende contribuir a la superacion de dichas carencias por medio de un estudio sobre las practicas musico-liturgicas de la Catedral de Santiago de Chile entre 1721 (ano de fundacion de una capilla musical permanente) y 1840 (momento en el que Santiago se eleva a la categoria de arquidiocesis y deja de depender del Arzobispado de Lima). Mas concretamente, el texto propone una reconstruccion en dos niveles: por un lado, recompone el calendario de ceremonias que incluian la participacion de la capilla de musica durante el ano liturgico; y por otro reconstituye, a modo de ejemplo, la procesion y misa del Domingo de Ramos, incluida la Pasion. Para el logro de estos objetivos, recurre a documentos historicos y fuentes musicales tanto impresas como manuscritas del periodo senalado EnglishThe musical repertoire cultivated in Latin America between the sixteenth and nineteenth centuries has been the focus of important studies and editions from the foundational works by Lange and Stevenson up until today. However, with a few exceptions, this work suffers from two basic problems in the ways it approaches or edits this repertoire: 1) the omission of plainchant, and 2) a lack of attention to its ceremonial background. A third, and not lesser point is that work about colonial music generally does not extend into the independence period, and vice versa, despite the fact that the ecclesiastical organization and liturgical practices did not change when the Spanish colonies became republics. This article addresses these problems by studying practices of liturgical music at the Cathedral of Santiago de Chile from 1721 (when a permanent music chapel was officially established) up to 1840 (the year in which the Santiago was promoted to an archdiocese and was no longer dependent on the metropolitan church of Lima). In order to do so, the authors propose a solution on two levels: on the one hand, we have reconstructed the calendar of feasts on which the music chapel took part, and on the other hand, we have recreated, as an example of the former, the liturgical music performed on Palm Sunday (procession and mass, including the Passion). For such a task, we have studied many primary musical and historical sources, both handwritten and printed, from the period.