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- W4377037387 abstract "Abstract Revueltas’ return from the United States after a formative period of over a decade led to dramatic changes. He decided to abandon his career as a violinist to assume himself now above all as a composer. This decision implied taking a stance regarding the various aesthetics predominant in Mexico at the time, on the one hand, a Eurocentric nationalism, an expression of internal colonialism, and on the other, his friend and boss Carlos Chávez’s varied attempts to counter this perspective. Two early compositions seem to sound a dialogue with this aesthetic environment. One of them, satirically named Tres pequeñas piezas serias, abandoned in the process of composition and therefore undated, appears to have been crafted at the time. It was published as “Two Little Serious Pieces.” Through the names of the three proposed movements, it appears to poke fun at his romantic peers at the National Conservatory, as well as, perhaps, both Chávez’s early primitivist works and his early modernist works. Futuristic modernism was far from Revueltas’ mind, considering the composition of a quasi-surrealist song, the “Duo for Duck and Canary” (Dúo para pato y canario), 1932, which transfers the intended irrationality of Carlos Barrera’s atypical poem to music. These are the first compositions that introduce a disruptive or incoherent collage as an expression of satire." @default.
- W4377037387 created "2023-05-19" @default.
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- W4377037387 date "2023-08-10" @default.
- W4377037387 modified "2023-10-02" @default.
- W4377037387 title "Epistemic Disobedience" @default.
- W4377037387 doi "https://doi.org/10.1093/oso/9780199751488.003.0004" @default.
- W4377037387 hasPublicationYear "2023" @default.
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