Publication: Repensar las escenas musicales contemporáneas: genealogía, límites y aperturas
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2018
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SIBE-Sociedad de Etnomusicología
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Abstract
El concepto de escena musical se ha consolidado como una idea central en los estudios sobre músicas populares desde los años 90. En este artículo proponemos una revisión crítica de su desarrollo teórico y metodológico, y profundizamos en su proyección durante los últimos años. A partir de la exploración de sus límites, apuntamos ciertas lagunas y aportamos nuevas definiciones, conceptos y posibles líneas de investigación. En este proceso se hace necesario cuestionar la separación categórica entre escenas locales, translocales y virtuales, e incidir en la compleja infraestructura de las escenas musicales contemporáneas. Para ello recurrimos a la obra de investigadores sobre música popular, semiótica y sociología. Los textos del dossier aquí presentados contribuirán a los estudios sobre escenas musicales en la Península Ibérica y en Latinoamérica mediante novedosas indagaciones en las prácticas musicales y en sus implicaciones identitarias, en la tradición y el diálogo intercultural, en la cartografía de lugares y estilos musicales.
Since the 1990s, the concept of music scene has been established as a central idea within popular music studies. In this article we propose a critical review of its theoretical and methodological development, and we discuss its projection during recent years. By exploring its boundaries, we point out certain limitations and provide new definitions, concepts and research lines. In this process it is necessary to question the categorical separation between local, translocal and virtual scenes, and to acknowledge the complex infrastructure of contemporary music scenes. To this end, we draw on the work of researchers on popular music, semiotics and sociology. The texts of the dossier presented here will contribute to music scenes studies in the Iberian Peninsula and in Latin America through innovative approaches to musical practices and identities, tradition and intercultural dialogue, mapping of places and music styles.
Since the 1990s, the concept of music scene has been established as a central idea within popular music studies. In this article we propose a critical review of its theoretical and methodological development, and we discuss its projection during recent years. By exploring its boundaries, we point out certain limitations and provide new definitions, concepts and research lines. In this process it is necessary to question the categorical separation between local, translocal and virtual scenes, and to acknowledge the complex infrastructure of contemporary music scenes. To this end, we draw on the work of researchers on popular music, semiotics and sociology. The texts of the dossier presented here will contribute to music scenes studies in the Iberian Peninsula and in Latin America through innovative approaches to musical practices and identities, tradition and intercultural dialogue, mapping of places and music styles.
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Escena Musical, Músicas Populares, Globalización, Identidad, Semiosfera, Popular Music, Music Scene, Globalization, Identity, Semiosphere
Bibliographic citation
Cuaderno de Etnomusicología, N. 12 (2018),pp. 63-88