Tabaré Etcheverry, a short song
It seems to intermingle, as he announces in one of his texts, a matter of luck in the popularity, or not, of the singer-songwriter Tabaré ETCHEVERRY. The end of the 70s, in Uruguay, acts as a kind of hinge in which two decisive periods are amalgamated in our music. Begins to undergo a significant ch...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2018 |
| País: | Brasil |
| Institución: | Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS) |
| Repositorio: | Letras de Hoje (Online) |
| Idioma: | español |
| OAI Identifier: | oai:ojs.revistaseletronicas.pucrs.br:article/29331 |
| Acceso en línea: | https://revistaseletronicas.pucrs.br/fale/article/view/29331 |
| Access Level: | acceso abierto |
| Palabra clave: | Song in Uruguay Dictatorship Song protest Canción en el Uruguay Dictadura Canción protesta Música Literatura Canção no Uruguai Ditadura Canção de protesto |
| Sumario: | It seems to intermingle, as he announces in one of his texts, a matter of luck in the popularity, or not, of the singer-songwriter Tabaré ETCHEVERRY. The end of the 70s, in Uruguay, acts as a kind of hinge in which two decisive periods are amalgamated in our music. Begins to undergo a significant change in the conception of the song that, now, will unite such dissimilar figures as: Los Olimareños, Leo Maslíah, Carlos Cresci and even, a group that began targeting the children's audience, Canciones para no dormir la siesta. The present work, fruit of an investigation in course, tries to give account of biographical aspects of José Francisco Etcheverry Tort (1945-1978) and its connection with the song in Uruguay, its aesthetic conception, as well as of political questions that, among others things, forged a certain black legend about this singer-songwriter. |
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