Los estudios pianísticos de Carlos Guastavino. Vínculos pedagógicos, continuidades del romanticismo musical y herencias españolas.
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| Title: | Los estudios pianísticos de Carlos Guastavino. Vínculos pedagógicos, continuidades del romanticismo musical y herencias españolas. |
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| Alternate Title: | Carlos Guastavino's Piano Studies. Pedagogical Connections, Continuities of Romantic Music, and Spanish Heritage. Os estudos de piano de Carlos Guastavino. Vínculos pedagógicos, continuidades do romantismo musical e herança espanhola. |
| Authors: | Mansilla, Silvina Luz1 silman@filo.uba.ar |
| Source: | Journal History of Latin American Education / Revista Historia de la Educación Latinoamericana. jul-dic2025, Vol. 27 Issue 46, p259-280. 22p. |
| Subject Terms: | *Piano instruction, *Education theory, *Music education, *Sociocultural theory, Music history, Cultural property, Music improvisation |
| Geographic Terms: | Argentina, Santa Fe (Argentina) |
| Abstract (English): | Objective: This reflection article proposes the elucidation of a series of historical-documentary data in order to understand how the Argentine musician Carlos Guastavino (1912-2000), born in the city of Santa Fe, was trained in the piano aspect. Originality: It is essential to contribute to the historicization of piano performance in Argentina and of the pedagogical aspects and people involved, since this is a research line that is underdeveloped despite being closely related to the history of musical creation. Method: Tools from the sociocultural history of music are used, facilitating a qualitative approach that allows for an understanding of interpersonal networks, continuities, and formal and informal pedagogical trajectories. Thus, both written documents--such as concert programs, letters, newspaper archives, and others--and audio documents--recorded interviews and musical recordings-- are analysed. Strategies: Primary and secondary sources are compared, providing new knowledge at the intersection of the history of musical creation and the history of performance. Although at times based on conjecture, the cumulative strategy of documentary work allows for an insight into the stylistic relationships and compositional preferences that shaped the composer's idiolect--that is, his identity as a musician. Conclusion: Carlos Guastavino's largely self-taught piano training fostered his self-affirmation. His learning, coupled with the development of a great capacity for keyboard improvisation, wove together his subjectivity as a creator and allowed him to be the master of his own educational journey. [ABSTRACT FROM AUTHOR] |
| Abstract (Spanish): | Objetivo: este artículo de reflexión propone la dilucidación de una serie de datos histórico-documentales en pos de comprender cómo se formó en el aspecto pianístico el músico argentino Carlos Guastavino (1912-2000), nacido en la ciudad de Santa Fe. Originalidad/Aporte: resulta imprescindible contribuir a la historización de la interpretación pianística en Argentina y de los aspectos pedagógicos y personas involucradas, toda vez que se trata de una línea investigativa que no se ha utilizado a pesar de guardar estrecha relación con la historia de la creación musical. Método: se utilizan herramientas de la historia sociocultural de la música, lo que facilita una aproximación cualitativa que permite comprender las redes interpersonales, las continuidades y los trayectos pedagógicos formales e informales. Así, se procede tanto al análisis de documentos escritos --tales como programas de conciertos, epístolas, hemerografía, entre otros-- como sonoros --entrevistas grabadas y registros musicales-. Estrategias/Recolección de información: se procede a la confrontación de fuentes primarias y secundarias, que aportan nuevo conocimiento en una intersección entre historia de la creación musical e historia de la performance. Aunque con una base por momentos conjetural, la estrategia acumulativa del trabajo documental permite una aproximación a los parentescos estilísticos y las preferencias compositivas que construyeron el idiolecto del compositor, esto es, su identidad como músico. Conclusión: la condición mayormente autodidacta de la formación pianística de Carlos Guastavino favoreció la autoafirmación de su personalidad. Su aprendizaje ligado al desarrollo de una gran capacidad para la improvisación en el teclado fue entretejiendo su subjetividad como creador y le permitió ser el dueño de su propio itinerario formativo. [ABSTRACT FROM AUTHOR] |
| Abstract (Portuguese): | Objetivo: este artigo propõe a elucidação de uma série de dados histórico-documentais para entender como o músico argentino Carlos Guastavino (1912-2000), nascido na cidade de Santa Fé, se formou como pianista. Originalidade: é essencial contribuir para a historicização da execução do piano na Argentina e dos aspectos pedagógicos e das pessoas envolvidas, pois essa é uma linha de pesquisa que ainda está vaga, apesar de estar intimamente relacionada à história da criação musical. Método: são utilizadas ferramentas da história sociocultural da música, o que facilita uma abordagem qualitativa que nos permite entender as redes interpessoais, as continuidades e as trajetórias pedagógicas formais e informais. Assim, são analisados tanto documentos escritos - como programas de concertos, epístolas, hemerografia, entre outros - quanto documentos de áudio - entrevistas gravadas e gravações musicais. Estratégias: procedemos ao confronto de fontes primárias e secundárias, que fornecem novos conhecimentos em uma interseção entre a história da criação musical e a história da performance. Embora às vezes conjectural, a estratégia cumulativa do trabalho documental nos permite abordar as relações estilísticas e as preferências composicionais que construíram o idioleto do compositor, ou seja, sua identidade como músico. Conclusão: a natureza amplamente autodidata do treinamento de Carlos Guastavino no piano favoreceu a autoafirmação de sua personalidade. Seu aprendizado, associado ao desenvolvimento de uma grande capacidade de improvisação ao teclado, entrelaçava sua subjetividade como criador e permitia que ele fosse o mestre de seu próprio itinerário formativo. [ABSTRACT FROM AUTHOR] |
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| Database: | Education Research Complete |
| Abstract: | Objective: This reflection article proposes the elucidation of a series of historical-documentary data in order to understand how the Argentine musician Carlos Guastavino (1912-2000), born in the city of Santa Fe, was trained in the piano aspect. Originality: It is essential to contribute to the historicization of piano performance in Argentina and of the pedagogical aspects and people involved, since this is a research line that is underdeveloped despite being closely related to the history of musical creation. Method: Tools from the sociocultural history of music are used, facilitating a qualitative approach that allows for an understanding of interpersonal networks, continuities, and formal and informal pedagogical trajectories. Thus, both written documents--such as concert programs, letters, newspaper archives, and others--and audio documents--recorded interviews and musical recordings-- are analysed. Strategies: Primary and secondary sources are compared, providing new knowledge at the intersection of the history of musical creation and the history of performance. Although at times based on conjecture, the cumulative strategy of documentary work allows for an insight into the stylistic relationships and compositional preferences that shaped the composer's idiolect--that is, his identity as a musician. Conclusion: Carlos Guastavino's largely self-taught piano training fostered his self-affirmation. His learning, coupled with the development of a great capacity for keyboard improvisation, wove together his subjectivity as a creator and allowed him to be the master of his own educational journey. [ABSTRACT FROM AUTHOR] |
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| ISSN: | 01227238 |
| DOI: | 10.19053/uptc.01227238.18784 |
