Lo que quiere "La mina del Ford"
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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| Formato: | Artículo publishedVersion |
| Lenguaje: | Español |
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Instituto de Literatura Hispanoamericana (Facultad de Filosofía y Letras, Universidad de Buenos Aires)
2016
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| 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: |
| Sumario: | 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. |
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