Fundamentos interdisciplinares para el abordaje de la música catedralicia del Nuevo Reino de Granada entre 1706 – 1737 desde la perspectiva del imaginario social

Abstract

The present interdisciplinary research addresses an analysis of the music manuscripts between 1706 - 1737 of the chapel master Juan de Herrera from an approximation of Cornelius Castoriadis theories about the social Imaginary. In this period, a European tradition of polyphonic music and Gregorian chant was founded in Neo-Granada society that had choirs and music chapels for its interpretation in this way, the representation of holiness and the profane is adjusted to the process of Christianity that was in charge of different religious orders that transferred a sacred repertoire from Spain, France, and Italy to Santafé, Fontibón, Cartagena, Tunja, and Monguí. Thus, the sound imaginary of the European continent took on shades and colors typical of the New Kingdom of Granada, a phenomenon that configured a musical spectrum, whose imaginary is constituted as an ontological language, of the representation of reality, an incessant and essentially indeterminate creation of figures, shape and pictures.