Publication: El acompañamiento pianístico de la danza: la improvisación como recurso creativo
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2016-11-28
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Universidad Complutense de Madrid
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Abstract
La presente tesis surge ante la necesidad de conceder un reconocimiento y propiciar un marco de conocimiento y acción teórico y práctico para una disciplina históricamente desatendida en el ámbito académico musical: el acompañamiento pianístico de la danza. Este tipo de acompañamiento pianístico es lógicamente demandado tanto por conservatorios de danza como por compañías de danza; sin embargo, a excepción de casos puntuales, desde los conservatorios de música no se forma a los alumnos pianistas para que puedan desempeñar con garantías de éxito esta labor en el futuro, y no son pocos los pianistas que tras haber concluido de manera brillante sus estudios musicales, posiblemente con un bagaje considerable de conciertos y una trayectoria artística reconocida, fracasan al iniciar su recorrido profesional en el mundo de la danza. Este hecho es especialmente significativo cuando sucede tras haber superado con éxito un procedimiento selectivo de concurso-oposición al Cuerpo de Profesores de Música y Artes Escénicas, en la especialidad de Piano, y de forma tan ineludible como imprevista, deben desempeñar esta labor en un conservatorio de danza, como consecuencia de unas normativas “cuando menos” controvertidas. Esta paradójica circunstancia queda evidenciada en la introducción y en la justificación de la tesis, así como en los apartados sucesivos donde además se atienden aspectos referidos a la situación educativa de la improvisación y de los recursos creativos que habrían de ser inherentes a toda forma de pedagogía musical, y que tan necesarios resultan además para el desarrollo de un eficaz acompañamiento pianístico de la danza. Tras la declaración de intenciones se presenta como objetivo principal de la tesis el de lograr una interrelación efectiva entre los distintos profesionales de las enseñanzas de danza, mediante una comunicación fluida entre los mismos, con ayuda de la improvisación como recurso de acompañamiento en el aula. A continuación se plantean los objetivos secundarios, los interrogantes y se formulan las hipótesis...
This project was inspired by the necessity of raising awareness and of providing a practical and theoretical knowledge and action framework for a discipline that has traditionally been neglected in the musical academic sphere: the piano musical accompaniment for dancing. This type of piano accompaniment is logically provided for music conservatories and for dancing companies. Nevertheless, despite some isolated examples, music conservatories are not specifically training piano students to allow they to perform this task in the future with certain success possibilities. There are many pianists that after having overcome their students with honours, and with probably a wide experience in concerts and an artistic career, fail when starting to work in the dancing world. This is especially significant when, after having successfully passed a public competition to obtain a job at the Cuerpo de Profesores de Música y Artes Escénicas [Spanish Music and Scenic Arts Teachers Staff], with the speciality in Piano , and they have to suddenly and inevitably, develop this task in a dance conservatory. This is a consequence of some regulations that could be considered at least controversial. This paradox is highlighted in the Introduction and in the Justification of the PhD as well as in the parts following that also deal with aspects related to the educational state of improvisation and creative resources, which should be inherent in every musical pedagogy, and that are absolutely necessary to obtain an efficient piano accompaniment to dancing. After establishing the line of work, the main aim of this thesis is stated. It consists on achieving an effective relationship between different dance teaching professionals, by a fluent communication, and the use of improvisation as an accompaniment resource in the classroom. After that, secondary aims are outlined, as well as questions and hypothesis...
This project was inspired by the necessity of raising awareness and of providing a practical and theoretical knowledge and action framework for a discipline that has traditionally been neglected in the musical academic sphere: the piano musical accompaniment for dancing. This type of piano accompaniment is logically provided for music conservatories and for dancing companies. Nevertheless, despite some isolated examples, music conservatories are not specifically training piano students to allow they to perform this task in the future with certain success possibilities. There are many pianists that after having overcome their students with honours, and with probably a wide experience in concerts and an artistic career, fail when starting to work in the dancing world. This is especially significant when, after having successfully passed a public competition to obtain a job at the Cuerpo de Profesores de Música y Artes Escénicas [Spanish Music and Scenic Arts Teachers Staff], with the speciality in Piano , and they have to suddenly and inevitably, develop this task in a dance conservatory. This is a consequence of some regulations that could be considered at least controversial. This paradox is highlighted in the Introduction and in the Justification of the PhD as well as in the parts following that also deal with aspects related to the educational state of improvisation and creative resources, which should be inherent in every musical pedagogy, and that are absolutely necessary to obtain an efficient piano accompaniment to dancing. After establishing the line of work, the main aim of this thesis is stated. It consists on achieving an effective relationship between different dance teaching professionals, by a fluent communication, and the use of improvisation as an accompaniment resource in the classroom. After that, secondary aims are outlined, as well as questions and hypothesis...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Educación, Departamento de Expresión Musical y Corporal, leída el 14/12/2015