Publication: Música para percusión y vanguardia en el continente americano: Amadeo Roldán, José Ardévol y Carlos Chávez, su relación con el proyecto panamericano y la música experimental norteamericana (1930-1943)
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2017-04-28
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Universidad Complutense de Madrid
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Abstract
El nacimiento de la música para percusión en Latinoamérica, estuvo marcado desde sus orígenes por su interacción con la vanguardia y la música experimental norteamericana. Este repertorio que, a priori, se muestra como multicultural, fue cultivado lejos de su lugar de procedencia, y navegó con bandera blanca entre estéticas musicales diversas, desarrolladas a partir de 1920 por Edgar Varèse, Henry Cowell, y posteriormente por John Cage y Lou Harrison, máximos exponentes de la música experimental, a finales de la década de 1930. La trayectoria de dichos compositores presenta influencias polifáceticas de múltiples procedencias, desde los experimentos futuristas, hasta la integración del ruido como sonido, la composición musical destinada a servir como acompañamiento de la danza moderna, y el empleo de elementos de carácter indigenista y afrocubanista. El objetivo principal de esta tesis consiste en estudiar el desarrollo del ensemble de percusión desde su origen en 1930 hasta 1943 en Cuba y México en particular. Se examinan la relación estética e ideológica sobre la cual se asentó este formato en el campo de la creación de la música académica en el contexto panamericano durante dicho periodo; así como el carácter del vínculo establecido entre los músicos de la vanguardia mexicano-cubana con la plataforma musical estadounidense. Ello permite, en la medida de lo posible, reflexionar sobre los procesos tanto conscientes como inconscientes que definieron las características estéticas de dicho contexto. El marco cronológico se centra, en consecuencia, en los distintos elementos identitarios que sirvieron para demarcar las historias de estas composiciones, y su estrecha vinculación con las prácticas y discursos musicales de carácter nacionalista desarrollados en dichos países, así como los impulsados por los exponentes de la vanguardia y la música experimental norteamericana...
The birth of percussion music in Latin America was branded since the beginning by its interaction with the avant-garde and American experimental music. This repertory shown a priori as multicultural, was cultivated far from its place of origin, and sailed with white flag between different musical aesthetics, developed since the 1920’s decade by Edgar Varèse, Henry Cowell, and subsequently by John Cage and Lou Harrison, exponents of experimental music in the late 1930’s. The trajectory of these composers has multifaceted influences from numerous sources; from the futuristic experiments, to the integration of noise as musical sound, compositions intended to serve as accompaniment to modern dance, and the use of elements of indigenous and afro-cubanism character. The main objective of this thesis is to study the development of the percussion ensemble since its origins in 1930 to 1943 in Cuba and Mexico, in particular. It examines the aesthetic and ideological relationship upon which this format was based in the field of creation of classical music in the Pan American context during this period, and the nature of the link between the musicians of the Mexican-Cuban vanguard with the American musical platform. This allows, as far as possible, to reflect on both conscious and unconscious processes that defined the aesthetic characteristics of that context. The chronological framework focuses consequently on the various identity elements that served to draw the trajectory of these compositions, and their close links with the practices and discourses of nationalistic music developed in these countries, as well as those promoted by the exponents of the American avant-garde and experimental music. The research interest is therefore focused towards the musical analysis of the first five works created by Latin American composers in this genre, in the period considered as formative, which led to its settlement and evolution. Stylistic and aesthetic connections between some of the works are drawn in order to show that the elements used as the basis for the creation directly influenced the later music production. In addition, there will be an assessment of the reception of these compositions, which suffered the most diverse critics, as well as to highlight the interactions occurred between the creators and the contradictions posed by the Pan American musical project...
The birth of percussion music in Latin America was branded since the beginning by its interaction with the avant-garde and American experimental music. This repertory shown a priori as multicultural, was cultivated far from its place of origin, and sailed with white flag between different musical aesthetics, developed since the 1920’s decade by Edgar Varèse, Henry Cowell, and subsequently by John Cage and Lou Harrison, exponents of experimental music in the late 1930’s. The trajectory of these composers has multifaceted influences from numerous sources; from the futuristic experiments, to the integration of noise as musical sound, compositions intended to serve as accompaniment to modern dance, and the use of elements of indigenous and afro-cubanism character. The main objective of this thesis is to study the development of the percussion ensemble since its origins in 1930 to 1943 in Cuba and Mexico, in particular. It examines the aesthetic and ideological relationship upon which this format was based in the field of creation of classical music in the Pan American context during this period, and the nature of the link between the musicians of the Mexican-Cuban vanguard with the American musical platform. This allows, as far as possible, to reflect on both conscious and unconscious processes that defined the aesthetic characteristics of that context. The chronological framework focuses consequently on the various identity elements that served to draw the trajectory of these compositions, and their close links with the practices and discourses of nationalistic music developed in these countries, as well as those promoted by the exponents of the American avant-garde and experimental music. The research interest is therefore focused towards the musical analysis of the first five works created by Latin American composers in this genre, in the period considered as formative, which led to its settlement and evolution. Stylistic and aesthetic connections between some of the works are drawn in order to show that the elements used as the basis for the creation directly influenced the later music production. In addition, there will be an assessment of the reception of these compositions, which suffered the most diverse critics, as well as to highlight the interactions occurred between the creators and the contradictions posed by the Pan American musical project...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, Departamento de Musicología, leída el 18-12-2015