
Contents
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Summoning the European Other Summoning the European Other
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. . . and Summoning the Voice(s) of the Local Other . . . and Summoning the Voice(s) of the Local Other
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The First Version of the Quartet: Anti-Folkloristic Irony and Mockery The First Version of the Quartet: Anti-Folkloristic Irony and Mockery
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In Search of “Con-sensus”: The Sharing of the Sensory between the Composer and His Social Subject In Search of “Con-sensus”: The Sharing of the Sensory between the Composer and His Social Subject
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Speaking through the Voice of the People Speaking through the Voice of the People
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Music from a Fair? The Final Testament of a Transformative Avant-Gardism Music from a Fair? The Final Testament of a Transformative Avant-Gardism
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Notes Notes
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7 Magueyes (1931) and Música de feria (1932)
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Published:May 2023
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Abstract
Revueltas wrote four string quartets during his short life as a professional composer, curiously all at the outset of his career (1931–1933). Two of them lack referents to local popular music genres, seemingly contesting Eurocentric precepts of organicity through a free, apparently intentional “disobedient” disaggregating accumulation of isolated musical gestures, perhaps responding to a decolonial agenda. The better-known quartets, ironically titled Magueyes and Música de feria, contain satires of a then expected folkloric nationalism, but also an affirmative proposition, defining the political as part of the sensory realm and sounding it through musical abstractions of street-vendor cries, Revueltas’ chosen symbol of his social subject. Rhetorical figures derived from verbal language help to decode satirical intent. Rancière’s philosophical avowal of the sensible invites a reading of political expression in non-figurative art such as music.
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