The relationship between music as art and music as work has been a perennial issue in musicians’ working lives. It has provoked longstanding debates not just in academia but also in musicians’ practice and their organisations. Little is known, however, about the social history of musicians’ organisations, particularly outside the Anglophone world. This thesis addresses this issue by reading a broad range of documents written by musicians who worked in music in the late nineteenth and early twentieth centuries in Valparaíso, Chile. I call them working-musicians, in contrast to those who made music for the sake of it without expecting payment in exchange. These working-musicians gathered in collective organisations thatfollowed the model of the labour movement, such as mutual aid societies andtrade unions. Behind the creation and functioning of these organisations liecomplex and variegated decisions that the musicians made themselves. Analysing their discussions and processes of decision making embedded in the wider context of postcolonial Chile sheds light on how these working-musicians and their organisations coped with the changes in the ebullient music industries of the port city of Valparaíso and the rising labour movement. Through case studies and document analysis, this thesis brings together perspectives from labour history, Latin American studies and musicology, and contributes to conversations on the study of musical labour. Overall, it tells a part of the social history of Chilean music from a labour perspective.
【 预 览 】
附件列表
Files
Size
Format
View
The path to trade unionism: musical work in Chile (1893-1940)