Koyi game da magabata da gudummawar waƙoƙin Mexico zuwa wannan nau'ikan bayyanar duniya da mahimmancin gaske.
Tarihin kide-kide na wake-wake na Mexico ya wuce lokaci daban-daban, kyan gani na zamani da kuma salon kide kide a cikin karni na 20. Ya fara ne da lokacin soyayya tsakanin 1900 da 1920, kuma ya ci gaba tare da lokacin tabbatar da kishin ƙasa (1920-1950), duka biyun suna da zafin rai saboda kasancewar wasu raƙuman ruwan kade-kade lokaci guda; A lokacin rabin karni na, karnoni daban-daban na gwaji da na gaba sun hadu (daga 1960 zuwa).
Ofirƙirar mawaƙan Meziko na ƙarni na 20 sun fi yawa a cikin tarihin mu na kiɗa, kuma yana nuna nau'ikan ayyukan musika da yawa, shawarwari masu ƙayatarwa da kayan haɗi. Don taƙaita bambancin da yawa na kiɗan wake-wake na Meziko a cikin ƙarni na 20, ya dace a koma ga lokutan tarihi uku (1870-1910, 1910-1960 da 1960-2000).
Canjin mulki: 1870-1910
Dangane da tsarin tarihin gargajiya, akwai Mexicos guda biyu: daya kafin Juyin Juya Hali da kuma wanda aka haifeshi daga gareta. Amma wasu nazarin tarihi na baya-bayan nan sun nuna cewa, ta fuskoki da dama, sabuwar ƙasa ta fara fitowa kafin rikicin makamai na 1910. Tsawon tarihin da ya shafe sama da shekaru 30 yana ƙarƙashin mamayar Porfirio Díaz ya kasance, duk da rikice-rikice da kura-kuranta, wani mataki na ci gaban tattalin arziki, zamantakewar al'umma da al'adu waɗanda suka aza harsashin bayyanar Mexico ta zamani, wacce ke da alaƙa da sauran ƙasashen Turai da Amurka. Wannan buɗewar ƙasa da ƙasa shine tushen ci gaban al'adu da kide-kide wanda aka ciyar da shi ta hanyar sabbin al'adun duniya kuma ya fara shawo kan rashin kuzari.
Akwai alamomi da yawa na tarihi da suka nuna cewa kiɗan kaɗe-kaɗe ya fara canzawa bayan 1870. Kodayake taron shaƙatawa da falo ya ci gaba da kasancewa yanayi mai kyau don kiɗan mawaƙa, kuma an sake tabbatar da dandano na jama'a don wasan kide kide (opera, zarzuela, operetta, da sauransu), ana samun sauyi a hankali a cikin aladun kirkirowa, da gabatarwa da yada waka. A cikin kwata na ƙarshe na karni na 19, al'adar pianistic ta Meziko (ɗayan mafi tsufa a Amurka) an inganta ta, an haɓaka samar da kade-kade da kiɗan ɗaki, an sake baje kolin mutane da mashahuran kiɗan cikin kide-kide na kide-kide, kuma sababbin kayan tarihi masu ban sha'awa a cikin tsari da jinsi (don ƙetare raye-raye da gajerun ɗakin). Mawaƙan sun kusanci sabbin kayan kwalliyar Turai don sabunta harsunan su (Faransanci da Jamusanci), kuma an fara ƙirƙirar ko kuma ci gaba da ƙirƙirar kayayyakin kide kide na zamani wanda daga baya za a ji a ɗakunan wasan kwaikwayo, dakunan kiɗa, ƙungiyar makaɗa, makarantun kiɗa, da dai sauransu.
Nationalaunar kade-kade ta Mexico ta tashi daga tasirin zamantakewar al'umma da al'adu na juyin juya halin. A cikin ƙasashe daban-daban na Latin Amurka, mawaƙa sun gudanar da bincike game da salon ƙasa har zuwa tsakiyar karni na 19. Neman asalin ƙasa a cikin kiɗa ya fara ne da motsawar movementan asalin romantican ƙasa a cikin Peru, Argentina, Brazil da Mexico, dangane da alamomin pre-Hispanic masu ban sha'awa ga opera. Mawakin Meziko Aniceto Ortega (1823-1875) ya fara wasan opera Guatimotzin a cikin 1871, a wani dakin shakatawa wanda ke gabatar da Cuauhtémoc a matsayin gwarzo na soyayya.
A ƙarshen karni na 19 da farkon 20, an riga an tsinkayar nuna kishin ƙasa na musika a Mexico da ƙasashen ƙannenta, sakamakon tasirin ƙasashen Turai. Wannan kishin kasa ya samo asali ne sakamakon aiwatar da '' kirkirar mulki '' ko kuma bata suna tsakanin raye-raye na raye-raye na Turai (waltz, polka, mazurka, da sauransu), nau'ukan yare na Amurka (habanera, rawa, waka, da sauransu) da kuma shigar da abubuwa na kiɗa na gida, waɗanda aka bayyana ta hanyar harshen Turai mafi rinjaye. Daga cikin opera masu nuna kishin kasa akwai El rey poeta (1900) na Gustavo E. Campa (1863-1934) da Atzimba (1901) na Ricardo Castro (1864-1907).
Manufofin kwalliya na mawaƙan kishin ƙasa masu kishin ƙasa sun wakilci ƙimar aji na tsakiya da na sama na lokacin, daidai da ƙa'idodin roman roman roman soyayya (ɗaga kiɗan mutane zuwa matakin fasaha). Ya kasance game da ganowa da ceton wasu abubuwa na shahararrun kiɗa da lulluɓe su da albarkatun kiɗan waƙoƙi. Yawancin kiɗan salon da aka buga a lokacin rabin na biyu na karni na goma sha tara an gabatar da shirye-shirye masu kyau da sigar (don piano da guitar) na shahararrun "sararin sama na ƙasa" da "raye-raye na ƙasa", ta inda aka gabatar da kiɗan yare zuwa majami'ar kade-kade. kide kide da wake-wake da ɗakin iyali, suna da kyau sosai don azuzuwan aji. Daga cikin mawakan Mexico na ƙarni na 19 waɗanda suka ba da gudummawa ga neman kiɗan ƙasa akwai Tomás León (1826-1893), Julio Ituarte (1845-1905), Juventino Rosas (1864-1894), Ernesto Elorduy (1853-1912), Felipe Villanueva (1863-1893) da Ricardo Castro. Rosas ya zama sananne a ƙasashen duniya tare da waltz ɗin sa (A kan raƙuman ruwa, 1891), yayin da Elorduy, Villanueva da wasu suka kirkiro rawar Mexico mai daɗi, bisa ga tsarin aiki tare na Cuban contradanza, asalin habanera da danzón.
Carin haske: 1910-1960
Idan wani abu ya haskaka waƙar kade-kade ta Meziko a cikin shekaru goman farko na karni na 20, to wannan batun ne, wanda aka fahimta azaman neman hanyoyin magance matsakaiciya fiye da mawuyacin matsayi ko zuwa kyakkyawar hanya guda. Kayan kwalliyar kwalliya ita ce ma'anar cudanya da halaye da halaye daban-daban da masu kiɗan Mexico ke amfani da su, waɗanda suka ƙware da salon waƙa fiye da ɗaya ko kuma halin kyan gani a yayin ƙirƙirar su. Kari kan haka, da yawa daga cikin mawakan sun nemi nasu salon kide-kide ta hanyar hadewa ko hada karfi da karfe, dangane da wasu kwarjini na kwalliyar da suka mamaye daga kiɗan Turai da Amurka.
A wannan lokacin, an gamsu da cewa yawancin mawaƙan Mexico sun bi hanyar ƙa'idodi, wanda ya ba su damar kusanci salo iri-iri waɗanda ke haɗa ƙasa ko wasu abubuwa na kiɗa. Manyan hanyoyin da aka haɓaka a lokacin 1910-1960 sun kasance, ban da mai kishin kasa, mai nuna soyayya ko kuma mai nuna soyayya, mai daukar hankali, mai bayyana ra'ayi, da kuma nuna kyan gani, ban da wasu na kwarai, kamar wadanda ake kira microtonalism.
A lokacin rabin farko na karni na 20, kide-kide da zane-zane ba su kare kan tasirin da kishin kasa ke da shi ba, wani karfi ne na akida wanda ya taimaka wajen karfafa siyasa da zamantakewar kasashen Latin Amurka wajen neman asalin al'adunsu. Kodayake kishin ƙasa na musika ya rage mahimmancinsa a Turai a wajajen 1930, a Latin Amurka ya ci gaba a matsayin muhimmin halin yanzu har zuwa bayan 1950. Mexico ta bayan juyin-juya hali ta fi son ci gaban kishin ƙasa da kide-kide dangane da manufar al'adun da jihar ta Mexico ta yi amfani da shi a duk ƙasashe. Arts. Dangane da kyakkyawar kishin kasa, cibiyoyin al'adu da ilimi na hukuma sun goyi bayan aikin masu zane-zane da mawaka, kuma sun karfafa karfafa kayan kade-kade na zamani da suka danganci koyarwa da yadawa.
Da kishin kasa Kunshi na assimilation ko shakatawa na mashahurin kiɗan kiɗa na mawaƙan kiɗa, ko dai kai tsaye ko a fakaice, bayyananniya ko lulluɓe, a bayyane ko sublimated. Nationalaunar kade-kade ta Mexico ta kasance mai saukin hadawa ta salo, wanda ke bayyana fitowar bangarori biyu na kishin kasa da salo iri-iri na zamani. Da kishin kasa, shugaban ta Manuel M. Ponce (1882-1948) A cikin shekaru 20 na farko na karnin, ya jaddada ceton waƙar Mexico a matsayin tushen waƙar ƙasa. Daga cikin mawakan da suka bi Ponce ta wannan hanyar akwai José Rolón (1876-1945), Arnulfo Miramontes (1882-1960) da Estanislao Mejía (1882-1967). Da asalin ƙasa yana da mafi mashahuri shugaba Carlos Chávez (1899-1978) na shekaru biyu masu zuwa (1920 zuwa 1940), Movementungiyar da ta nemi sake ƙirƙirar kiɗan pre-Hispanic ta hanyar amfani da kiɗan asali na lokacin. Daga cikin yawancin mawaƙan wannan yanki na asali mun sami Candelario Huízar (1883-1970), Eduardo Hernández Moncada (1899-1995), Luis Sandi (1905-1996) da kuma wadanda ake kira "Rukuni na hudu", wanda Daniel Ayala ya kafa (1908-1975), Salvador Contreras (1910-1982 ), Blas Galindo (1910-1993) da José Pablo Moncayo (1912-1958).
Tsakanin 1920s da 1950s wasu samfuran kishin ƙasa sun haɗu kamar su kishin kasa, yanzu a cikin wasu ayyukan Ponce, Rolón, Rafael J. Tello (1872-1946), Antonio Gomezanda (1894-1964) da Moncayo; da kishin ƙasa da nuna ra'ayi na José Pomar (1880-1961), Chávez da Silvestre Revueltas (1899-1940), kuma har zuwa Tsarin ƙasa na Neoclassical wanda Ponce, Chávez, Miguel Bernal Jiménez (1910-1956), Rodolfo Halffter (1900-1987) da Carlos Jiménez Mabarak (1916-1994) suka aikata. A ƙarshen hamsin hamsin ƙarshen gajiyar nau'ikan iri daban-daban na Musicalasa ta ƙasar Mexico, saboda wani bangare na budi da bincike na masu kirkirar sabbin hanyoyin hada-hada, wasu daga cikinsu sun yi karatu a Amurka da kuma bayan yakin Turai.
Kodayake kishin kishin kasa ya wanzu har zuwa shekarun 1950 a Latin Amurka, daga farkon karni na 20 wasu kide-kide na kide-kide sun bayyana, wasu baƙi kuma wasu suna kusa da kishin ƙasa. Wasu mawakan sun ja hankali ga kidan kidan da ke adawa da kishin kasa, saboda sanin cewa salon kishin kasa ya haifar da su ga hanya mai sauki ta nuna yanki da nisantar sabbin hanyoyin duniya. Wani lamari na musamman a Mexico shine na Julián Carrillo (1875-1965), wanda aikinsa na kide-kide da yawa ya fito ne daga gurbatacciyar romancin romancin zuwa microtonalism (sauti ya fi ƙasa da rabin sautin), kuma ka'idar ta Sauti 13 yi masa suna a duniya. Wani lamari na musamman shine na Carlos Chavez, wanda, bayan ya rungumi kishin kasa da himma, ya kwashe sauran aikinsa a matsayinsa na mai tsara waka, karantarwa da kuma yada ingantattun hanyoyin zamani na kade-kade na zamani.
Da (neo / post) romancin soyayya Ya kasance mai nasara tun daga farkon karni na 20, kasancewar salo mai sa'a tsakanin dandano na jama'a don ingancin sautinsa da isharar motsin rai, gami da tsakanin mawaƙa don iyawarsa ga cakuda salo. Daga cikin mawakan farko na soyayya-na karni (Tello, Carrasco, Carrillo, Ponce, Rolón, da sauransu), wasu sun kasance haka a tsawon rayuwarsu (Carrasco, Alfonso de Elías), wasu sun daina kasancewa daga baya (Carrillo, Rolón) da wasu sun nemi haɗuwa da wannan salon da sauran kayan haɗin gwiwa, walau mai kishin ƙasa, mai ƙyamar ra'ayi ko kuma mai ƙyamar fasaha (Tello, Ponce, Rolón, Huízar). Labarin tasirin Faransanci na Tasirin Turawa a farkon karni (Ponce, Rolón, Gomezanda) ya bar tabo mai zurfi kan aikin wasu mawakan (Moncayo, Contreras) har zuwa 1960s. Wani abu makamancin haka ya faru tare da wasu raƙuman ruwa guda biyu waɗanda suka kasance tare da na baya: nuna magana (1920-1940), tare da bincikensa na tsananin karfi fiye da daidaitaccen tsari (Pomar, Chávez, Revueltas), da neoclassicism (1930-1950), tare da dawowa zuwa sifofi da nau'ikan gargajiya (Ponce, Chávez, Galindo, Bernal Jiménez, Halffter, Jiménez Mabarak). Duk waɗannan raƙuman ruwa sun ba wa mawaƙa na Mexico na lokacin 1910-1960 damar yin gwaji tare da hanyoyin haɗakar kide-kide, har sai sun sami daidaito wanda ya kai ga kasancewar asalin mutane da yawa, fuskoki daban-daban na kiɗanmu na Mexico.
Ci gaba da fashewa: 1960-2000
A lokacin rabin rabin karni na 20, kidan kade kade da wake wake na Amurka ya sami ci gaba da kuma fashewa wanda ya haifar da bambancin harsunan kiɗa, salo da kyan gani a aikace. Baya ga yawaita da bunƙasa na igiyoyin ruwa daban-daban, haka nan kuma akwai ci gaba a hankali a hankali game da kasancewar duniya a manyan biranen, mafi buɗewa ga tasirin ƙungiyoyin kiɗa na duniya. A yayin aiwatar da “sabuwar kidan” daga Turai da Amurka, wadanda suka samu ci gaba a Latin Amurka matakai hudu a cikin tallafi na samfuran waje: szabi na cancanta, kwaikwayo, nishaɗi da canji (kasaftawa), gwargwadon yanayin zamantakewar da bukatun mutum ko fifikon su. Wasu mawaƙan sun fahimci cewa zasu iya ba da gudummawa daga ƙasashen Latin Amurka don abubuwan kiɗan duniya.
Farawa daga 1960, sabbin kidan kade-kade na yanayin gwaji sun bayyana a galibin kasashen Amurka. Mawallafin da suka shiga cikin ɓarkewar rikice-rikice ba da daɗewa ba suka gano cewa ba abu ne mai sauƙi ba don samun izini na hukuma don bugawa, yin, da rikodin kiɗan su, wanda hakan ya sa wasu masu ƙirƙirar Latin Amurka suka zauna a Turai, Amurka, da Kanada. Amma wannan mawuyacin halin ya fara canzawa daga shekaru saba'in a ciki Argentina, Brazil, Chile, Mexico da Venezuela, lokacin da mawakan suka "sabuwar waka" Sun sami tallafi daga kungiyoyin kasa da kasa, sun kafa kungiyoyi na kasa, sun kirkiro dakunan gwaje-gwajen kiɗa na lantarki, suna koyarwa a makarantun kiɗa da jami'o'i, kuma an fara watsa waƙoƙinsu ta hanyar bukukuwa, tarurruka, da gidajen rediyo. Tare da waɗannan dabarun, keɓewar mawaƙan avant-garde ya ragu, wanda daga yanzu zai iya hulɗa da jin daɗin kyakkyawan yanayi don ƙirƙira da watsa abin da ake kira kiɗan zamani.
Hutu tare da guguwar kishin kasa ya fara ne a kasar Mexico a karshen shekarun 1950 kuma ya jagoranci ta Carlos Chávez da Rodolfo Halffter. Generationarnin fashewar ya haifar da sanannun mawaƙa na halaye da yawa waɗanda a yau sun riga sun zama “tsofaffi” na sabon kiɗan Mexico: Manuel Enríquez (1926-1994), Joaquín Gutiérrez Heras (1927), Alicia Urreta (1931-1987), Héctor Quintanar (1936) da Manuel de Elías (1939). Generationarnin na gaba sun haɓaka gwajin gwaji da yankewa tare da masu ƙirƙira kamar yadda mahimmanci Mario Lavista (1943), Julio Estrada (1943), Francisco Núñez (1945), Federico Ibarra (1946) da Daniel Catán (1949), tsakanin wasu da dama. Marubutan da aka haifa a cikin 1950s sun ci gaba da buɗewa zuwa sababbin harsuna da kyawawan halaye, amma tare da kyakkyawar ma'anar haɗuwa da nau'ikan igiyar ruwa daban-daban: Arturo Márquez (1950), Marcela Rodríguez (1951), Federico Álvarez del Toro (1953), Eugenio Toussaint (1954), Eduardo Soto Millán (1956), Javier Álvarez (1956), Antonio Russek (1954) da Roberto Morales (1958) , daga cikin mashahurai.
Hanyoyin ruwa da salon kiɗan Mexico daga lokacin 1960-2000 sun bambanta da yawa, ban da abin da ya ɓarke da kishin ƙasa. Akwai mawallafa da yawa waɗanda za a iya kasancewa a cikin wani nau'in kishin ƙasa, saboda nacewa kan nishaɗin salon da ya danganci shahararrun kiɗan da aka gauraye da sabbin fasahohi: daga cikinsu Mario Kuri Aldana (1931) da Leonardo Velázquez (1935). Wasu mawallafa sun kusanci sabon yanayin neoclassical, kamar yadda yake na Gutiérrez Heras, Ibarra da Catán. Sauran mawaƙan sun karkata ga yanayin da ake kira "Renaissance na Kayan aiki", Wannan yana neman sabbin hanyoyin bayyanawa tare da kayan kida na gargajiya, waɗanda mafi mahimmancin manoma su ne Mario Lavista da wasu daga cikin almajiransa (Graciela Agudelo, 1945; Ana Lara, 1959; Luis Jaime Cortés, 1962, da sauransu).
Akwai mahaliccin kiɗa da yawa waɗanda suka shiga cikin sabbin hanyoyin gwaji, kamar abin da ake kira "Sabon sarkakiya" (bincika mawuyacin abu da waƙoƙin fahimta) wanda yayi fice a ciki Julio Estrada, kazalika da kiɗa na lantarki da kuma iko tasiri na lissafin kiɗa daga tamanin (Álvarez, Russek da Morales). A cikin shekaru goma da suka gabata, wasu mawaƙan da aka haifa a cikin shekarun 1950 da 1960 suna yin gwaji tare da sabbin abubuwa na zamani waɗanda ke haifar da mawaƙa ta birni da kiɗan kabilun Mexico ta wata sabuwar hanya. Wasu daga cikin wadannan maki suna da siffofi neotonal da motsin rai kai tsaye wadanda suka sami damar daukar hankalin masu sauraro, nesa da gwaje-gwajen gaba-garde. Daga cikin mafi daidaito akwai Arturo Márquez, Marcela Rodríguez, Eugenio Toussaint, Eduardo Soto Millán, Gabriela Ortiz (1964), Juan Trigos (1965) da Víctor Rasgado (1956).
Hadisai da sabuntawa, yawanci da bambancin ra'ayi, karin haske da yawaita, asali da yawa, ci gaba da fashewa, bincike da gwaji: wadannan wasu kalmomi ne masu amfani don fahimtar wani dogon tarihin kide kide wanda, ya faro sama da shekaru dari da suka gabata, ya bunkasa fasahar kera Mexico har sai an kai wani wuri na dama a tsakanin kasashen Amurka, gami da girmamawa ta duniya a cikin rakodi da yawa (na ƙasa da ƙasa) waɗanda ayyukan mawaƙanmu suka cancanta, fuskoki daban-daban na kiɗan Mexico na ƙarni na 20.
Source: México en el Tiempo A'a. 38 Satumba / Oktoba 2000
