Music, Eurocentrism and Identity: The Myth of the Discovery of America in Chilean Music History

Abstract

During the past century, Edmundo O’Gorman, Tzvetan Todorov, Enrique Dussel and other scholars\rpointed out the Eurocentric perspective implied in traditional narratives about the discovery of\rAmerica, most of which intended to confirm Europe as the center of world history and culture. At\rthe same time, Claude Lévi-Strauss, Hayden White and others argued for the mythical character of\rhistory. According to them, even though historians attempted to assemble documentary evidence\robjectively, they constructed their narratives incorporating such evidence in preexisting stories,\rcharacters and categories with a mythical origin. This paper uses these viewpoints to analyze and\rcriticize the way in which Chilean music history has been constructed, particularly during the republican era. The main hypothesis is that traditional discourses about that history have constantly\rrecycled narratives on the discovery of America, which thus operates as a kind of founding myth\rfor historical and musicological interpretations, especially when dealing with turning points such\ras the change of dynasty (1700), the beginning of independence (c. 1810) and the centenary of the\rrepublic (1910). A corollary would be that documentary evidence about music has been frequently\rhidden or distorted precisely in order to fit such a myth. That is why the present paper examines\rboth bibliography and original documents found in different archives.