Aurality

Gautier Ana Maria Ochoa Gautier Ochoa

Description

In this audacious book, Ana Maria Ochoa Gautier explores how listening has been central to the production of notions of language, music, voice, and sound that determine the politics of life. Drawing primarily from nineteenth-century Colombian sources, Ochoa Gautier locates sounds produced by different living entities at the juncture of the human and nonhuman. Her "acoustically tuned" analysis of a wide array of texts reveals multiple debates on the nature of the aural. These discussions were central to a politics of the voice harnessed in the service of the production of different notions of personhood and belonging. In Ochoa Gautier's groundbreaking work, Latin America and the Caribbean emerge as a historical site where the politics of life and the politics of expression inextricably entangle the musical and the linguistic, knowledge and the sensorial.

Sujets

• América del Sur
• History of ideas
• South America
• History of the Americas
• Colombia
• Music

Informations

• Publié par: Duke University Press
• Date de parution: 20 février 2015
• Nombre de lectures: 0
• EAN13: 9780822376262
• Langue: English
• Poids de l'ouvrage: 1 Mo

Extrait

AURALITY

ANA MARÍA OCHOA GAUTIER

SIGN, STORAGE, TRANSMISSION •A ŝééŝ éé by Jonahan Séné an Lŝa Géman

AURALITY ŝÈ â ôÈÈ  ÈÈÈ- Èû ôôâ

ûÈ ÛÈŝ Èŝŝ•ûâ â ôô•

© 2014 DUKE UNIVERSITY PRESS. All rights reserved Printed in the United States of America on acid-free papero Designed by Courtney Leigh Baker Typeset in Arno Pro and Trade Gothic by Graphic Composition, Inc., Bogart, GA

Library of Congress Cataloging-in-Publication Data Ochoa Gautier, Ana María. Aurality : listening and knowledge in nineteenth-century Colombia / Ana María Ochoa Gautier. pages cm—(Sign, storage, transmission) Includes bibliographical references and index. ŝ 978-0-8223-5736-0 (cloth : alk. paper) ŝ 978-0-8223-5751-3 (pbk : alk. paper) 1. Oral communication—Colombia—History—19th century. 2. Listening—Social aspects—Colombia—History—19th century. 3. Voice—Social aspects—Colombia—History—19th century. 4. Sound—Social aspects—Colombia—History—19th century. i. Title.ii. Series: Sign, storage, transmission. 95.43.Ç7024 2014 302.2′24209861—dc23 2014006960

Cover art: Olga de Amaral,Ené oŝ ï, 2010. Linen, gesso, acrylic, and gold leaf. 185 × 170 cm. Courtesy of the artist. Photograph © Diego Amaral.

A María Eugenia Londoño y Jesús Martín-Barbero, A Richard Bauman y Beverly Stoeltje•Para Alina y Bernardo

CONTENTS

Péaçé an Açknowégménŝ•ix

ïnouçon È â â È ôÇÈ  È ÈÈÈ ’ŝ ÈôŝÇâ ŝô•

1. Ô ôŝ â ÇÈŝ•31

2. Ô ôûâ Śô•77 3. Ô È ôâÇ â•123 4. Ô ôÇâ û•165

Epogué È Ôâ  È Āûâ•207

Noéŝ•215

 Rééénçéŝ•231

 ïné•252

PREFACE AND ACKNOWLEDGMENTS

This book was not initially about listening, the voice, or the nineteenth cen- tury. The original project for the book was an inquiry into the intellectual history of studies of popular music in Colombia from the 1930s to the 1970s. I was especially interested in the correlation between music and the literary, since the entanglement of the sonorous in dierent forms of narrative has been central to Latin American musical thought, and many of its foundational ïgures have been more widely recognized as writers than as music scholars. Also, the ïeld of folkloristics was historically shaped in such a way that the study of the musical in the popular was oen undertaken as an intellectual and political endeavor that crossed the anthropological, the musical, and the literary with multiple practices of cultural policy. But when I went to the archives of the National Radio in Colombia (Radio Nacional de Colombia) in 2008 to listen to the radio programs Colombian folklorists had done throughout their career, I realized that programs on folk- lore from the 1940s to the 1980s used what was initially a vanguard technol- ogy, the radio, to promote a conservative listening pedagogy that constantly cited nineteenth century Colombian sources. I then turned to the nineteenth century archive to begin an initial exploration of the question of why such a listening pedagogy had been so persistent, shaping many of the ideas about the notions ofmúŝça popua. To my surprise, I found an archive full of lis- tening practices. As I found and read dispersed materials on such listening practices in the nineteenth century, a sonorous wrien archive I had never suspected was there began to take shape. As that archive took form, the topic of this book gradually changed from the intellectual history of twentieth cen- tury folklorists to the role of listening to dierent sounds considered “voices” in shaping the notions of nature and culture, so central to understandings of personhood and alterity that imbue the popular in Latin America. This book took shape in the midst of conversations on popular music go- ing back and forth between colleagues in Colombia, the United States and other Latin American countries, particularly Brazil and Argentina. I am deeply indebted to the possibility of such conversations across dierent places and