Mission through Music: Jesuit Practices and Postcolonial AftereffectsThe project analyses the import of European music into Early Modern Latin America by the Jesuit missionaries. It then explores the effects on colonial and European musical cultures and t

通过音乐宣教：耶稣会实践和后殖民后果该项目分析了耶稣会传教士将欧洲音乐引入早期现代拉丁美洲的情况。

• 批准号: 220613752
• 负责人: Dr. Jutta Toelle
• 金额: --
• 依托单位: Max-Planck-Institut für empirische Ästhetik (MPIEA)
• 依托单位国家: 德国
• 项目类别: Research Fellowships
• 财政年份: 2012
• 资助国家: 德国
• 起止时间: 2011-12-31 至 2012-12-31
• 项目状态: 已结题
• 来源: https://gepris.dfg.de/gepris/projekt/220613752?language=en
• 关键词: Mission; through; Music; Jesuit; Practices

Mission through Music: Jesuit Practices and Postcolonial Aftereffects.Bolivian Baroque, Missa Mexicana, Les Chemins du Baroque: CDs like these present „Latin American Baroque Music“ which seems to unite postmodern European longings for authenticity and passion with predictable Baroque music, emphasized by the experiments of historically informed performance practice. This music, a postmodern construction, serves a double function: it shows colonial musical worlds which never existed in the form we like to listen to them today and it represents an option of postcolonial identity construction in Latin America.At the origin of this complex situation are the Jesuits who performed their missionary work with the aid of music. Music served to alleviate the danger of the first contact with the heathens. It made the communication with prospective Christians easier, but it also transmitted values, knowledge and religious beliefs. European music was part of the overall strategy of cultural hybris exercised by the catholic conquistadors. The missionaries, working as their rear-guard, did not take note of any prehispanic music or decided against reporting about it. In some regions hybrid forms of music were encouraged by practices of accommodation and inculturation, but in many areas, the existing music was subsequently replaced functionally by European music. The missionaries¿ successes were transmitted to Europe via their reports and letters, most of which were printed, widely read and disseminated. The exoticist elements of their narration penetrated European musical cultures, establishing a reception pattern of longue durée leading all the way into the 21st century. In the last chapter, the research project will make use of postcolonial approaches to confront the near complete lack of contemporary reports from Latin Americans; this void will then be explored in its significance for the postmodern construction of musical worlds.

音乐的使命：耶稣会的实践和后殖民主义的影响。玻利维亚巴洛克，墨西哥弥撒，巴洛克之路：这些CD呈现了“拉丁美洲巴洛克音乐”，它似乎将后现代欧洲对真实性和激情的渴望与可预测的巴洛克音乐结合在一起，强调了历史经验的表演实践。这种音乐是一种后现代结构，具有双重功能：它展示了从未以我们今天喜欢听的形式存在过的殖民音乐世界，它代表了拉丁美洲后殖民身份建构的一种选择。这种复杂情况的起源是耶稣会士，他们借助音乐进行传教工作。音乐有助于减轻与异教徒第一次接触的危险。它使与未来的基督徒的沟通更容易，但它也传递了价值观，知识和宗教信仰。欧洲音乐是天主教征服者实施的文化混合整体战略的一部分。传教士作为他们的后卫，没有注意到任何前西班牙音乐，或者决定不报道它。在一些地区，混合形式的音乐受到适应和文化融合的鼓励，但在许多地区，现有的音乐随后在功能上被欧洲音乐所取代。传教士的成功通过他们的报告和信件传播到欧洲，其中大部分被印刷，广泛阅读和传播。他们叙事中的异国情调元素渗透到欧洲音乐文化中，建立了一种一直引领到21世纪世纪的长期持续的接受模式。在最后一章中，研究项目将利用后殖民的方法来面对几乎完全缺乏来自拉丁美洲的当代报告，这一空白将探讨其对音乐世界的后现代建设的意义。