The traditional paradigm of Cuarteto Cordobés. Sounds, words and stories

In the late 1960s, the cuarteto cordobés (Argentine Cordoban quartet) demonstrated certain regularities in terms of musical interpretation, repertoire, narratives, aesthetics, and other aspects which differed greatly from those of its origins as well as from those we would see in subsequent years. My hypothesis is that these are different discursive paradigms. The traditional paradigm was at its peak up until the late 1970s, when Chébere took the audience and local scene by storm with a disruptive approach that had a strong impact. In this paper, I propose to describe the general characteristics of the traditional cuarteto paradigm. With this purpose in mind, I established a corpus of 327 songs, pertaining to 28 albums, which I analyzed with attention to underlying recurrences and axiologies, or valuations. The aim was to account for what is valued by the traditional cuarteto in relation to the sonorous, linguistic and narrative aspects of the songs. Finally, at a second level of analysis, I set out to reconstruct the typical sender and receiver corresponding with the traditional paradigm.