En esta ocasión, quisiera compartir algunas reflexiones acerca de la idea de "globalizar" la musicología, o sea, de pensar la musicología desde una perspectiva global. Estas ideas han resultado de mi posición como presidente de la Sociedad Internacional de Musicología (IMS), en la que es necesario preguntarse cómo encauzar una sociedad internacional. De esto se desprende que mis reflexiones no sean de carácter teórico, sino simplemente inquietudes prácticas que me han preocupado desde que asumí la presidencia de IMS. Creo oportuno compartir estas reflexiones con ustedes, invitándolos a pensar comunitariamente acerca del rol de nuestra disciplina en un mundo globalizado, como musicólogos de América Latina reunidos aquí, en Buenos Aires, una ciudad cosmopolita.
GLOBAL MUSICOLOGY / GLOBALIZAR LA MUSICOLOGÍAVoy a concentrarme en definiciones, esencialmente en dos de ellas. ¿Qué entendemos por lo global? y ¿cómo definimos la musicología? No intento llegar a conclusiones definitivas sino, al contrario, mis definiciones son crudas, simplistas y casi estereotípicas, pero quiero reducirlas a sus formas más básicas para estimular discusión -son solamente "perchas" donde colgar ideas-. Empecemos con una definición de lo global.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.. Music Library Association is collaborating with JSTOR to digitize, preserve and extend access to Notes.Few Latin American countries can claim the concentration of talent and level of organization that characterizes the investigation of music in contemporary Cuba. In this collection of thirteen essays by Cuban and United States scholars, Peter Manuel captures many facets of this activity. Brilliantly conceived to reflect a multiplicity of approaches, the volume constitutes an attempt to respond to the growing Euro-American interest in Cuban music and its offshoots, and, in general, to recognize, through scholarly attention, the extraordinary richness, vitality, and international influence of that music over the last two centuries. Indeed, with the possible exception of certain former colonial powers, there is probably no country on earth whose music has had such extensive foreign impact, relative to its size, as has that of Cuba. (P. vii)
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