Resumo

l presente trabajo revisa diferentes perspectivas de la modernidad en la música adoptando finalmente la noción de JAMESON (2004) que la considera como un tropos de reescritura de carácter autoritario. El delineamiento de la performance modernista, auxiliándonos en las definiciones de COOK (2013), DOMENICI (2012), levanta cuestiones sobre el constructo modernismo/colonialismo (QUIJANO (2014), MIGNOLO (2008)), mostrando la opción descolonial como alternativa epistémica disponible y perentoria al performer contemporáneo.

The decolonization of the contemporary performer facing the modern thought

The present work reviews about different perspectives of modernity in music to finally adopt the concept of JAMESON (2004) which considers it as a rewriting tropos of authoritarian character. The portrayal of the modernist performance is assisted by the definitions of COOK (2013), DOMENICI (2012), and raises questions about the construct modernism/colonialism and showing us the decolonial option QUIJANO (2014), MIGNOLO (2008)) as an epistemic alternative (available and peremptory for the contemporary performer.