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Cid, Juan (¿?-1853-¿?) New! Popular
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Juan Cid es una figura poco conocida. Su Diccionario de música (1853) constituye su único testimonio intelectual conservado. Su prólogo, sin embargo, permite esbozar su perfil: se movía en círculos de profesores de música y conocía de cerca sus inquietudes, recogiendo sus quejas ante la escasez en España de obras filosóficas y fundamentales sobre el arte musical. Además, poseía una formación sólida que le permitía abordar no solo la práctica, sino también la dimensión teórica o "científica" de la música (Cid, 1853, 5), algo que en su época era privilegio de muy pocos maestros. Esta combinación de cercanía al gremio docente y dominio de la teoría musical sugiere que Cid no era un mero observador externo, sino que probablemente formaba parte activa del colectivo de profesores de música.
Aunque concebida tanto para profesores como para el público general interesado, su diccionario tuvo una difusión muy limitada y fue aparentemente desconocida para sus sucesores en el género, ya que Bonifacio Eslava (3/2/1867) omitió por completo sunexistencia en su balance de la lexicografía musical española y Felipe Pedrell (1894: XI) reconoció no tener «ninguna noticia de esta obra» más allá de referencias indirectas, pese a ser el segundo diccionario musical publicado en español tras el de Fargas y Soler en 1852.
Obra
- Diccionario de música que contiene las voces más usuales y las técnicas del arte, Imprenta de Don Dámaso Santarén, Valladolid, 1853.
Bibliografía
- Pedrell, Felipe, «Prefacio», Diccionario técnico de la música, Víctor Berdós, Barcelona, 1894, págs. V-XIX.
- Eslava, Bonifacio, «Diccionarios de música», Revista y Gaceta Musical, 5, Imprenta de Bonifacio Eslava, Madrid, 3/2/1867, pág. 1.
María Rubio Amondarain
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