Within the repertoire of songs coming from the oral tradition of Catalonia there is an interesting corpus of melodies that have been used--and continue to be used--for the improvisation of verses. As is well known, this type of oral communication is not exclusive to Catalonia but forms part of a broad tradition deeply rooted in Mediterranean culture (Scarnecchia 1998) and in the Ibero-American world (Trapero, Santana, et al. 2000). And it is also allied to the rap music that originated in the United States that has had such enormous commercial success (Munar 2005).

Improvised Song in Schools: Breaking Away from the Perception of Traditional Song as Infantile by Introducing a Traditional Adult Practice

María del Mar Bonet

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Comentari: Identitats ambivalents a debat

One of the most interesting subjects related to research on hybridization in music is the study of its semantic implications in a given socio-cultural context. It is clear that hybridization, in one way or another, is an inherent process in all kinds of music. For this reason it is important not only to observe the origins and development of this phenomenon, but also to pay due attention to what hybridization refers to on the emic level, i.e. hybridization as a bearer of meanings, elucidating which meanings are associated by social agents to these kinds of processes. This article focuses on this important question and presents some general reflections on the meanings of hybridization through concrete examples from the Catalan musical tradition. Discussion will be restricted to the ethnicity-semantics axis. For this reason, the examples of the Catalan musical tradition that are taken into account belong to those musical streams that have explicitly conferred ethnic value to it.

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Josep Martí Pérez

Papers

Hybridization and its Meanings in the Catalan Musical Tradition