Lo que quiere "La mina del Ford"

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The authorship of musical pieces identified as tango has been well established once they are defined as songs formed by lyrics to sing and a music sheet. Nevertheless, based on the concept of performance as pose and double representation (of the singer, and of the roles demanded by the interpretatio...

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Autor principal:	Idiarte, Nora
Formato:	Artículo publishedVersion
Lenguaje:	Español
Publicado:	Instituto de Literatura Hispanoamericana (Facultad de Filosofía y Letras, Universidad de Buenos Aires) 2016
Materias:	tango Gardel performance
Acceso en línea:	https://revistascientificas.filo.uba.ar/index.php/zama/article/view/2197 https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=zama&d=2197_oai
Aporte de:	Repositorio Digital de la Universidad de Buenos Aires (UBA) de Universidad de Buenos Aires

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spelling	I28-R145-2197_oai2025-11-17 Idiarte, Nora 2016-03-10 The authorship of musical pieces identified as tango has been well established once they are defined as songs formed by lyrics to sing and a music sheet. Nevertheless, based on the concept of performance as pose and double representation (of the singer, and of the roles demanded by the interpretation of the song), the ultimate authorship moves to the singer since he takes over the song by means of his performance. This article analyzes “La mina del Ford”, humorous tango-milonga written and composed to be performed by a female voice: the version recorded by Carlos Gardel in 1924 turns into the male narration of a rupture. La autoría de las composiciones que hoy identificamos como tangos se cristaliza una vez que convenimos en referirnos a ellas como fenómenos integrados por una letra para cantar y una partitura musical. A partir del concepto de performance, como pose y representación doble (del cantante y de los roles que exige la interpretación de la canción), la autoría definitiva se desplaza hacia el intérprete cuando transforma esa composición en una canción propia. Se analiza aquí el caso de “La mina del Ford”, tango-milonga humorístico compuesto para ser interpretado por una voz femenina que, en la versión grabada por Carlos Gardel en 1924, se vuelve narración de la escena de separación. A autoria das composições que hoje são identificadas como tangos é cristalizada uma vez que convimos nos referir a elas como fenômenos integrados por uma letra para cantar e uma partitura musical. Através do conceito de performance, como pose e representação dupla (do cantor e dos roles que são exigidos pela interpretação da música), a autoria definitiva desloca-se para o interprete quando ele transforma essa composição numa música própria. Será analisado aqui o caso de “La mina del Ford”, tango-milonga humorístico composto para ser interpretado por uma voz feminina que, na versão gravada por Carlos Gardel em 1924, torna-se narração da cena de separação. application/pdf https://revistascientificas.filo.uba.ar/index.php/zama/article/view/2197 10.34096/zama.a7.n7.2197 spa Instituto de Literatura Hispanoamericana (Facultad de Filosofía y Letras, Universidad de Buenos Aires) https://revistascientificas.filo.uba.ar/index.php/zama/article/view/2197/1928 Zama; Vol. 7 No. 7 (2015); 177-180 Zama; Vol. 7 Núm. 7 (2015); 177-180 Zama; v. 7 n. 7 (2015); 177-180 2422-6017 1851-6866 tango Gardel performance tango Gardel performance tango Gardel performance Lo que quiere "La mina del Ford" info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=zama&d=2197_oai
institution	Universidad de Buenos Aires
institution_str	I-28
repository_str	R-145
collection	Repositorio Digital de la Universidad de Buenos Aires (UBA)
language	Español
orig_language_str_mv	spa
topic	tango Gardel performance tango Gardel performance tango Gardel performance
spellingShingle	tango Gardel performance tango Gardel performance tango Gardel performance Idiarte, Nora Lo que quiere "La mina del Ford"
topic_facet	tango Gardel performance tango Gardel performance tango Gardel performance
description	The authorship of musical pieces identified as tango has been well established once they are defined as songs formed by lyrics to sing and a music sheet. Nevertheless, based on the concept of performance as pose and double representation (of the singer, and of the roles demanded by the interpretation of the song), the ultimate authorship moves to the singer since he takes over the song by means of his performance. This article analyzes “La mina del Ford”, humorous tango-milonga written and composed to be performed by a female voice: the version recorded by Carlos Gardel in 1924 turns into the male narration of a rupture.
format	Artículo publishedVersion
author	Idiarte, Nora
author_facet	Idiarte, Nora
author_sort	Idiarte, Nora
title	Lo que quiere "La mina del Ford"
title_short	Lo que quiere "La mina del Ford"
title_full	Lo que quiere "La mina del Ford"
title_fullStr	Lo que quiere "La mina del Ford"
title_full_unstemmed	Lo que quiere "La mina del Ford"
title_sort	lo que quiere "la mina del ford"
publisher	Instituto de Literatura Hispanoamericana (Facultad de Filosofía y Letras, Universidad de Buenos Aires)
publishDate	2016
url	https://revistascientificas.filo.uba.ar/index.php/zama/article/view/2197 https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=zama&d=2197_oai
work_keys_str_mv	AT idiartenora loquequierelaminadelford
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Lo que quiere "La mina del Ford"

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