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                <text>Musicología, historia y nacionalismo: Escritos tradicionales y nuevas perspectivas sobre la música del Chile Colonial</text>
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                <text>Presentamos un estudio sobre los principales tratados de música escritos en Sevilla durante el siglo XVIII en el contexto en el que fueron utilizados. Aportamos noticias inéditas sobre varios de ellos y sus autores así como un análisis de la educación musical centrado en el caso catedralicio como paradigma. Los objetivos del trabajo son ampliar el conocimiento sobre la –poco conocida hasta el momento– labor y métodos didácticos de músicos como Arnaldo de Hesper, José Muñoz de Monserrat, Pedro Rabassa y Diego de Gálvez y mostrar una panorámica sobre la enseñanza musical en una de las principales ciudades españolas hacia finales de la Edad Moderna.</text>
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                <text>Análisis de los instrumentos musicales del siglo XVIII</text>
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                <text>En 1966 Félix Luna publicó Los Caudillos, libro que retrataba a protagonistas de la lucha facciosa del siglo XIX en Argentina. Al mismo tiempo, lanzó junto al músico Ariel Ramírez, un disco LP con canciones a modo de síntesis del libro, en un tipo de soporte muy diferente. Estos trabajos suscitaron una polémica que se tradujo en diferentes publicaciones que atacaron el trabajo de Luna, tanto desde lo político como desde lo historiográfico. Este artículo busca reconstruir dicha polémica donde el caudillismo del siglo XIX y la construcción de la nación operaron como escenario donde varios sectores del ámbito historiográfico (y político) trataron de zanjar sus disputas.</text>
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                <text>La sonata para piano surge en Argentina a comienzos del siglo XX con la emergencia de un grupo de compositores profesionales formados en Europa. Hacia la segunda década, luego del temprano caso de la Sonata de Drangosch (1895), una cantidad de ejemplos (Rodríguez, 1911; Piaggio, 1913; Gianneo, 1917; Williams, 1917; André, 1918; Gil; 1918; Torre Bertucci, 1921; Palma, 1921) da la pauta de la formación escolástica que traían los integrantes de la entonces novel Sociedad Nacional de Música, creada en 1915. La producción se edita y se difunde en conciertos. Desde 1924, con la fundación del Conservatorio Nacional, algunos de esos creadores serán quienes asuman la enseñanza institucionalizada de la composición. Se indaga ese repertorio en función del análisis pormenorizado de cuatro obras producidas por compositoras argentinas en la década de 1930. Son ellas, la Sonata en Mi Mayor (1931) de Isabel Aretz, la Sonata en La Mayor (1934) de Celia Torrá, la Sonatina en Mi Bemol (1936) de Ana Carrique y la Sonata (1937) de Lita Spena. Además de la puesta en valor a través de conciertos, con el objeto de comprender el contexto de producción se realiza un estudio desde la recepción estilística y crítica.</text>
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                <text>En este artículo vamos a analizar las formas musicales, los instrumentos y el pensamiento musical del Barroco. Dentro de un enfoque didáctico, incluiremos una propuesta de actividades para realizar con el alumnado con el objetivo de conocer las caracteríasticas musicales de este periodo. </text>
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