Álbumes musicales de mujeres, marcas de uso y escena cultural

Through a close examination of eighteen music albums that belonged to Carmela and Clarisa Vega, from Copiapó, in northern Chile, this article examines private and public musical practices carried on by women. We propose that the scores contain marks of the uses given to them; these traces can be divided into three categories: marks of appropriation, musical marks, and manipulation marks. These traces, complemented with information published in the local press, reveal how these scores were used at charity events and civil commemorations, and in music teaching. In this cultural scene, several repertoires were employed to fulfill different musical functions, especially valses (waltzes) and opera arrangements. This article underlies the public agency of female musicians through their organizing of concerts and their piano, zither, guitar, mandolin, and singing performances. In addition, it examines some composition practices developed by women and the editions of their scores. The study of this Copiapó cultural scene thus unveils an entire network of female sociability practiced in a provincial city

Acoustics · Appropriation · Art · Art history · Guitar · Humanities · Linguistics · Literature · Musical · Opera · Piano · Repertoire · Singing · Sociology · Visual arts · Cultural and Social Studies in Latin America · Political and Social Dynamics in Chile and Latin America