Publication: Lo nacional en la obra para voz y piano de Gisela Hernández y Harold Gramatges: análisis compositivo
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2015-01-14
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Universidad Complutense de Madrid
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Abstract
Esta tesis doctoral tiene como objetivo fundamental destacar la presencia de rasgos esenciales de la música cubana en la producción compositiva para voz y piano de Gisela Hernández (Cárdenas, 15 de septiembre de 1912 – La Habana, 23 de agosto de 1971) y Harold Gramatges (Santiago de Cuba, 26 de septiembre de 1918 – La Habana, 16 de diciembre de 2008). El análisis musicológico y literario de los procedimientos técnico-compositivos empleados por ambos creadores pone en evidencia el vínculo efectivo entre la lírica y la música, así como la actualidad y vigencia de los recursos empleados en la concreción de estos repertorios. La tesis parte de un conciso panorama de antecedentes históricos y de aspectos de interés sobre la cultura musical de la isla, sobre todo en el contexto más inmediato al corpus elegido para la investigación. El análisis musicológico es la metódica fundamental para delinear los trayectos compositivos y la poética de Hernández y Gramatges en el lapso que abarca la producción de las obras para voz y piano objeto de estudio. Diversas direcciones y sistemas analíticos: estructurales, motívico-rítmicos y melódico-armónicos, principalmente, son los procedimientos elegidos para describir y valorar el alcance, proyección y singularidades propuestas en cada obra. La conjunción del análisis musical sistemático y el literario unifica de manera ineludible los criterios para acercarnos a sendos universos estéticos. En ambos compositores, es posible comprobar como las permanencias y las transformaciones se fraguan desde la tradición hacia la renovación estilística y conceptual. Esta investigación pone de realce que el catálogo de obras para voz y piano de Gisela Hernández y Harold Gramatges destaca en el conjunto de la música profesional del siglo XX en Cuba; a la vez subraya que, su tránsito en paralelo por un contexto histórico-social común, estuvo marcado por el ingenio creativo y la identidad nacional
This doctoral thesis has as its principal objective the highlighting of essential characteristics of Cuban music in the production of compositions for voice and piano found in the works of Gisela Hernández (Cárdenas, 15th September 1912 - La Habana, 23rd August 1971) and Harold Gramatges (Santiago de Cuba, 26th September 1918 - La Habana, 16th December 2008). The musical and literary analysis of the compositional processes employed by both composers brings to light the efficacious bond between lyricism and music as well as the validity of the recourses utilized in the succinctness of these repertoires. The thesis moves on from a brief panorama of the historical background and points of interest regarding the musical culture of the island, especially in the more immediate context of the body of work chosen for investigation. Musicological analysis is the fundamental methodology in outlining the compositional journeys and poetry of Hernández and Gramatges, spanning the period of production of the works for voice and piano as the object of study. Diverse directions and analytical methods: structural, motivic-rhythmic and melodic-harmonic are the principal procedures chosen to describe and evaluate the scope, peculiarities and effects proposed within each piece. The marriage of systematic analysis and lyricism inescapably unifies the necessary criteria, thus bringing us closer to each of these aesthetic universes. With both composers it is possible to observe how the continuities and transformations forge ahead from the traditional towards stylistic and conceptual renovation. This investigation highlights the catalogue of works for voice and piano by Gisela Hernández and Harold Gramatges, emphasizing the combination of concert music in Cuba in the 20th century whilst at the same time underlining its parallel transition through a common socio-historic context which was marked by creative ingenuity and national identity.
This doctoral thesis has as its principal objective the highlighting of essential characteristics of Cuban music in the production of compositions for voice and piano found in the works of Gisela Hernández (Cárdenas, 15th September 1912 - La Habana, 23rd August 1971) and Harold Gramatges (Santiago de Cuba, 26th September 1918 - La Habana, 16th December 2008). The musical and literary analysis of the compositional processes employed by both composers brings to light the efficacious bond between lyricism and music as well as the validity of the recourses utilized in the succinctness of these repertoires. The thesis moves on from a brief panorama of the historical background and points of interest regarding the musical culture of the island, especially in the more immediate context of the body of work chosen for investigation. Musicological analysis is the fundamental methodology in outlining the compositional journeys and poetry of Hernández and Gramatges, spanning the period of production of the works for voice and piano as the object of study. Diverse directions and analytical methods: structural, motivic-rhythmic and melodic-harmonic are the principal procedures chosen to describe and evaluate the scope, peculiarities and effects proposed within each piece. The marriage of systematic analysis and lyricism inescapably unifies the necessary criteria, thus bringing us closer to each of these aesthetic universes. With both composers it is possible to observe how the continuities and transformations forge ahead from the traditional towards stylistic and conceptual renovation. This investigation highlights the catalogue of works for voice and piano by Gisela Hernández and Harold Gramatges, emphasizing the combination of concert music in Cuba in the 20th century whilst at the same time underlining its parallel transition through a common socio-historic context which was marked by creative ingenuity and national identity.
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, Departamento de Musicología, leída el 25-04-2014