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González, Towards a collective poetics... :

Notes

[1] For a socio-historical view of the teaching of composition in Chile see Escobar, 1971: 157-166. For comments about the current situation in Chile see Alejandro Guarello in Naranjo, 1987: 56.

[2] According to Becerra, generations from the 1910s and 1920's, the "precursors", opened Chilean music to the music of the world and created a sense of identity as part of the national culture. Generations from the 1930s, 1940s, and 1950s developed what the precursors started to do. Generations from the late 1950s and 1960s, the "committed", represent the culmination of the definition process of Chilean cultural identity (Bocaz, 1978: 107-108).

[3] For a further discussion on Chilean composers' generations see Gustavo Becerra in González, 1985: 9; and Escobar, 1971: 130 ff.

[4] For a discussion on universalism among Chilean composers of the 1950's and 1960's see Escobar, 1971: 145-148.

[5] For a further discussion on the "Chilean" in music see Escobar, 1971: 57-72, 143-144.

[6] For a discussion on compositional process and the music making of Chilean composers during the 1960's see Escobar, 1971: 31-35.

 
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