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

通过音乐的使命：耶稣会的做法和后殖民的后遗症。玻利维亚巴洛克，墨西哥米萨，巴洛克：像这样的CD呈现了“拉丁美洲巴洛克音乐”，它似乎将后现代欧洲人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，这是由历史知识的表演实践的实验强调的。这种音乐是一种后现代的建构，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。这种复杂局面的根源是耶稣会士借助音乐进行传教工作。音乐有助于减轻第一次接触异教徒的危险。它使与未来的基督徒的交流变得更容易，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狂热整体战略的一部分。传教士作为他们的后卫，没有注意到任何理解恐慌的音乐，也决定不对此进行报道。在一些地区，融合和灌输的做法鼓励混合形式的音乐，但在许多地区，现有的音乐后来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递到欧洲，其中大多数被印刷、广泛阅读和传播。他们叙事中的异国情调渗透到欧洲音乐文化中，形成了通向21世纪的长篇接受格局。在最后一章中，该研究项目将利用后殖民的方法来应对拉丁美洲几乎完全缺乏当代报告的问题；然后将探讨这一空白对后现代音乐世界构建的意义。

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.