This paper presents, in the first place, a broad revisionist journey through the complex history of the recording of the “Canción del esposo soldado” by Miguel Hernández, which takes us from Paris to Bucharest passing through Havana. Secondly, this recording, made in 1937 by the writer Alejo Carpentier, is analyzed for the first time in detail following a critical listening method that compares what is written in the canonically fixed text with what the poet from Orihuela recites in the only sound record of his voice preserved until today.

Historia y análisis de la voz de Miguel Hernández en la «Canción del esposo soldado»

alessandro mistrorigo
2022

Abstract

This paper presents, in the first place, a broad revisionist journey through the complex history of the recording of the “Canción del esposo soldado” by Miguel Hernández, which takes us from Paris to Bucharest passing through Havana. Secondly, this recording, made in 1937 by the writer Alejo Carpentier, is analyzed for the first time in detail following a critical listening method that compares what is written in the canonically fixed text with what the poet from Orihuela recites in the only sound record of his voice preserved until today.
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Historia y análisis de la voz de Miguel Hernández en la «Canción del espososoldado» Poéticas, año VI, n.o 15, 171-192, ISSN 2445-4257 : www.poeticas.org.pdf

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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/10278/5000671
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