Analysing the identifiable: cultural borrowing within Diana Salazar’s La voz del fuelle' in Expanding the Horizons of Electroacoustic Music Analysis (Ed. L. Landy & S. Emmerson).

Blackburn, Manuella (2016) Analysing the identifiable: cultural borrowing within Diana Salazar’s La voz del fuelle' in Expanding the Horizons of Electroacoustic Music Analysis (Ed. L. Landy & S. Emmerson). In: Expanding the Horizon of Electroacoustic Music Analysis. Cambridge University Press, Cambridge, pp. 288-309. ISBN 9781107118324

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Abstract

Carrying out an analysis of Diana Salazar’s acousmatic music work, La voz del fuelle is an attempt to identify the various compositional strategies involved when cultural sounds become source material for creative work. An analysis of where this iconic sound material appears may help shed light on how a composer can both borrow and embed culturally identifable sound material within the more abstract sonic milieu most typical to the acousmatic genre. Understanding how a composer has placed cultural symbols, well-known motifs, and sometimes whole passages of existing music into a new piece of sonic art is a worthy subject for analysis so as to demonstrate the evolution of existing musical ideas as well as the composer’s prowess in gaining ownership over something borrowed.

Salazar’s La voz del fuelle engages with the concept of the ‘sonic souvenir’ , integrating many musical samples borrowed from a foreign culture. Analysing the work’s intricate integration of identifiable cultural material (traditional Argentine instruments and Tango recordings) with sound materials of a more cultural-neutral nature reveals how one as a listener might re-imagine “the stylistic, cultural and performative qualities that characterise the music of Tango” within a new context. I aim to convey the importance of causality in establishing plausible (although entirely fabricated) connections between the recognizable and the abstract and how the listener’s acceptance of these impossible, causally triggered events rests entirely upon the precise placements of sound chosen by the composer. Cultural borrowing within electroacoustic music can occur in many different formats and guises and by analysing this work I aim to illuminate a more comprehensive perspective from an outsider’s use of an Argentine music tradition and its transference to the acousmatic medium.

Item Type:	Book Section
Faculty / Department:	Faculty of Creative Arts & Humanities > School of Creative and Performing Arts
Depositing User:	Manuella Blackburn
Date Deposited:	09 Oct 2017 09:00
Last Modified:	12 Mar 2021 16:07
URI:	https://hira.hope.ac.uk/id/eprint/2182

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