Description
Nationalist thought has constituted a principal axis of musicology in Latin America since its inception, and thus has exerted a considerable influence on the respective musical histories that were created during the initial decades of the twentieth century. It would be reasonable to posit that Cuba has not been immune to this phenomenon, particularly in the wake of the Cuban Revolution in 1959. The interweaving of nationalist and Americanist ideologies with an ideological and political stance marked by the different stages of struggle against colonial (Spain) and neocolonial (United States) powers is evident. From this perspective, the impact and significance of Alejo Carpentier's narrative in the Latin American context during the 20th century is indisputable. Similarly, he played a pivotal role in the formation and legitimization of a musical nationalist discourse in 19th-century Cuba. Considering the most recent contributions to the fields of history, literature, and musicology, it can be stated that there are a multitude of factors that challenge the veracity of Carpentier's thesis. The principal aim of this paper is to deconstruct the discourse on the canon of musical nationalism in colonial Cuba, with a particular focus on the nationalist/Americanist ideological agenda espoused by Carpentier in La música en Cuba (1946). In addition, it is proposed that the term "criollo" or "criollista" be considered as a potential operative term for the study of musical activity related to certain relational and membership circuits located in nineteenth-century Cuba. To achieve this, it has been necessary to understand and explain the object of study from several different perspectives. These include pragmatics (Escandell, 1993), the discursive context (Calsamiglia and Tusón, 2001) and the performance complex proposed by Alejandro Madrid (2012). These approaches have been essential for the post-national study of musical nationalism.
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