Magíster en artes con mención en composición musical / El presente documento corresponde a mi proyecto de tesis para optar al grado de Magister en Artes con mención en Composición Musical, del programa de Post-Grado de la Facultad de Artes de la Universidad de Chile. La Tesis está centrada en la composición de una obra para cuatro tarkas y orquesta andina, inspirada en el Carnaval de Socoroma, es una obra contemporánea de carácter indigenista, que articula aspectos de la etnomusicología y mi vivencia personal de esta fiesta religiosa popular. El pueblo de Socoroma se encuentra ubicado región de Arica y Parinacota, a 30 km de Putre y 125 km de Arica a 3060 metros de altura. Con una gran influencia cultural Aymara, se aprecia un sincretismo cultural con la cultura occidental y la religión Católica que se expresa en diversas celebraciones populares, el Carnaval de Socoroma, se realiza todos los años en el mes de febrero. Por medio de investigación bibliográfica, entrevistas y trabajo de campo recopilo material necesario para recrear en un lenguaje de concierto la obra “Carnaval de Socoroma” compuesta en nueve movimientos que hacen alusión directa a los días y momentos de este Carnaval. La obra también presenta un carácter de síntesis, entre las músicas que existen al interior de esta fiesta, compartiendo el mismo espacio sonoro instrumentos del folclore criollo andino con Tarkas cuya afinación no es temperada, dando lugar a nuevas sonoridades.

<p>The present dissertation is a translation and analysis of the chapter on <i>anumāna</i> in Vallabha’s <i>Nyāyalīlāvatī,</i> based on certain theoretical considerations on cross-cultural translation and the understanding of tradition. Adopting a non-essentialized and non-historicist conceptualization of the Nyāya-Vaiśeṣika/Navya-nyāya tradition, the work focuses on a reading of the <i>anumāna</i> chapter that is particularized and individualized. It further argues for a plurality of interpretative stances within the academic field of Nyāya-Vaiśeṣika/Navya-nyāya studies, on the grounds that the dominant stance has narrowed the scope of research. With reference to post-colonial theory, this dominant stance is understood in terms of a certain strategy called “mimetic translation”.</p><p>The study of the <i>anumāna</i> chapter consists of three main interpretational sections: translation, comments, and analysis. The translation and comments focus on understanding issues internal to the <i>Nyāyalīlāvatī. </i>The analysis focuses on a contextual interpretation insofar as the text is understood through reading other texts within the Nyāya-Vaiśeṣika/Navya-nyāya discourse. The analysis is further grounded in a concept of intertextuality in that it identifies themes, examples, and arguments appearing in other texts within the discourse. The analysis also identifies and discusses Cārvāka and Mīmāṁsaka arguments within the <i>anumāna</i> chapter.</p><p>Two important themes are discerned in the interpretation of the <i>anumāna</i> chapter: first, a differentiation between the apprehension of <i>vyāpti</i> and the warranting of this relation so as to make the apprehension suitable for a process of knowledge; second, that the sequential arrangement of the subject matter of the sections within the chapter, <i>vyāptigraha</i>, <i>upādhi</i>, <i>tarka</i>, and <i>parāmar</i>śa, reflects the process of coming to inferential knowledge.</p><p>The present work is a contribution to the understanding of the post-Udayana and pre-Gaṅgeśa Nyāya-Vaiśeṣika/Navya-nyāya discourse on inferential knowledge and it is written in the hope of provoking more research on that particular period and discourse in the history of Indian philosophies.</p>

The present dissertation is a translation and analysis of the chapter on anumāna in Vallabha’s Nyāyalīlāvatī, based on certain theoretical considerations on cross-cultural translation and the understanding of tradition. Adopting a non-essentialized and non-historicist conceptualization of the Nyāya-Vaiśeṣika/Navya-nyāya tradition, the work focuses on a reading of the anumāna chapter that is particularized and individualized. It further argues for a plurality of interpretative stances within the academic field of Nyāya-Vaiśeṣika/Navya-nyāya studies, on the grounds that the dominant stance has narrowed the scope of research. With reference to post-colonial theory, this dominant stance is understood in terms of a certain strategy called “mimetic translation”. The study of the anumāna chapter consists of three main interpretational sections: translation, comments, and analysis. The translation and comments focus on understanding issues internal to the Nyāyalīlāvatī. The analysis focuses on a contextual interpretation insofar as the text is understood through reading other texts within the Nyāya-Vaiśeṣika/Navya-nyāya discourse. The analysis is further grounded in a concept of intertextuality in that it identifies themes, examples, and arguments appearing in other texts within the discourse. The analysis also identifies and discusses Cārvāka and Mīmāṁsaka arguments within the anumāna chapter. Two important themes are discerned in the interpretation of the anumāna chapter: first, a differentiation between the apprehension of vyāpti and the warranting of this relation so as to make the apprehension suitable for a process of knowledge; second, that the sequential arrangement of the subject matter of the sections within the chapter, vyāptigraha, upādhi, tarka, and parāmarśa, reflects the process of coming to inferential knowledge. The present work is a contribution to the understanding of the post-Udayana and pre-Gaṅgeśa Nyāya-Vaiśeṣika/Navya-nyāya discourse on inferential knowledge and it is written in the hope of provoking more research on that particular period and discourse in the history of Indian philosophies.