Pasados posibles de la música popular: narrativas históricas del jazz y del rock

Abstract

Este artículo propone repensar las narrativas históricas de la música popular a través de la historiografía del jazz y del rock. Su objetivo es historizar e integrar en estos dos géneros, entendidos como ensamblajes, las maneras de escribir sobre ellos, así como presentar sus inercias historiográficas recurrentes. El artículo se divide en ocho breves secciones. En las cuatro primeras se analiza la escasez de reflexiones historiográficas en los estudios sobre música popular y se clasifican las narrativas históricas dominantes sobre el jazz y el rock, ponderando sus ventajas e inconvenientes. En las cuatro siguientes se examinan los problemas compartidos por estas tramas y se proponen diversas alternativas en relación con los recientes giros historiográficos.

Antiquity in the history of music: A critical review of the music textbooks for secondary education in Spain

“…The organic narratives by genres, composers and styles are less frequently used, and of these it is the latter that is present to a greater extent in the coursebooks for ESO’s fourth grade, where there is a concentration of popular music contents in the curriculum. This observation matches the findings of published research in the sense that style-centred organic narratives are the most widely used in the academic narrative on popular music (Iglesias, 2021). From a didactic viewpoint, it is useless to produce a chronological narrative of composers and works, since it would merely entail a meaningless compilation of dates and names.…”

“…Another main issue involved in producing a narrative-based classification of music histories is, according to Iglesias (2021), the mixture of literary genres and organisational strategies. Iglesias starts from the metahistorical taxonomy -romance, tragedy, comedy and satire -posited by Hayden White (1973), the author of a benchmark contribution on the genesis and forms of narrative, undoubtedly one of the main texts in the field since Collingwood (1964Collingwood ( /1993.…”

“…Iglesias starts from the metahistorical taxonomy -romance, tragedy, comedy and satire -posited by Hayden White (1973), the author of a benchmark contribution on the genesis and forms of narrative, undoubtedly one of the main texts in the field since Collingwood (1964Collingwood ( /1993. Iglesias (2021), however, considers that 'the use of romance, tragedy, comedy or satire conditions, but does not completely determine, the organisation of narrative histories, which in general terms can choose between following an organic structure or avoiding it' (p. 240). 1 The author claims that organic histories -understood as biological entities -constitute a majority in the historiography of popular music and are constructed in different ways depending on whether they take as their object of study biography, musical genres or styles.…”

“…Organic history, when applied to musical genres, understands the latter as entities that arise, develop and decline. Style-based historiography would be based on the succession of different musical practices defined by norms or particular formal features within one or more genres (Iglesias, 2021, pp. 240–242).…”

“…On the other hand, and in contrast with organic narratives, we have sociocultural ones, which represent music on the basis of non-artistic events. In this regard, Iglesias (2021) states that these accounts, where music is a mere reflection of the circumstances surrounding the period when it was produced, have been privileged over the years, although in recent decades they have been combined with other approaches based on interpellation-based theories.…”