Abstract
The present paper is a reflection about the influence of oral music in the writing of academic Chilean music. Specifically, this study focuses on how compositional technique from aboriginal cultures, affects and dislocates the aesthetics center of Chilean contemporary music
My main subject is the piece Estudios Emocionales (1957), composed by the Chilean composer Roberto Falabella, and based on musical materials that come from Morenos and Chinos, devotional groups of dance of Chile
This piece is conceived as a support of a rich and varied pre-Colombian culture devises reinserted on the context of academic music.
The central hypothesis has to do with how the (post)modern ways of representing the Other, by transcultural compositional strategies, have modified the borders and location of the Chilean academic music, generating inner changes in its European canonic nucleus.
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