Portal de Periódicos da CAPES

El discurso musical como arma política en la obra de Alejo Carpentier

2011; Spanish National Research Council; Volume: 187; Issue: 751 Linguagem: Espanhol

10.3989/arbor.2011.751n5007

1988-303X

Carlos Villanueva,

Cinema History and Criticism

became known as Art and Music critic: first from his early works in La Havana newspapers and magazines, being an active member of the " Minorista" group; and later, in Paris (1928), in his voluntary exile of Caracas (1945), or already incorporated to the Cuban revolution (1959), he starts to change the chronicle, the historical essay or the fiction stories into an authentic musical curtain of the life he portrays, as if it was a soundtrack, always with clear and didactic political premeditation.The shades and tools of his discourse will depend on the genre he manipulates: pure musicology for the deconstruction of the musical space (La Música en Cuba); the ethnic narration for the foundation of Afrocubanism (¡Écue-yambao!); the counterpoint of "revolutionary" musics (La consagración de la primavera); the chronicle of primitive worlds (Los pasos perdidos) or the pure humor to caricature a dictatorship (El recurso del método).Always through daily chronicles, he uses the example, the quote or the musical variation as a teacher, trying to transform Life, Society, Aesthetics and the people.