Description
The research analyzes the discourse constructed around the aesthetic trends of the repertoire performed by the Philharmonic and Symphonic Orchestras of Havana during the 1920s, under the direction of Pedro Sanjuán (San Sebastián, 1886–Washington, 1976) and Gonzalo Roig (Havana, July 20, 1890–June 13, 1970), respectively. These orchestras, which were in competition during their early years, reflect how various constructions and representations of national identity in music were shaped by the meanings discursively constructed around their concerts and repertoire. The study explores how these disputes over meaning manifested in the intellectual and cultural spheres, within a context where avant-garde movements and conservative sectors defended opposing perspectives on national musical expression. Within this framework, the analysis also examines the transatlantic exchanges between Spain and Cuba, focusing on how the repertoire performed by these orchestras was influenced by European musical traditions and practices, and the implications of these foreign influences in the debates that were generated. To this end, concert programs, newspaper clippings, and press articles, collected in albums from both personal and institutional archives of the National Museum of Music of Havana, Cuba, are considered as texts that, due to their communicative nature, both influence and are influenced by the processes of meaning construction surrounding the concerts and orchestras.
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