Publication: Cualidad sonora y geometría. Una aproximación al análisis de "El Clave Bien Temperado" Vol. I (BWV 846-869), Johann Sebastian Bach
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2021-04-16
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Universidad Complutense de Madrid
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Abstract
La tesis doctoral que presentamos tiene como objetivo investigar las relaciones entre música y artes plásticas, teniendo como referente a la geometría. La investigación propuesta no olvida la importancia de la libertad creativa que nos obliga a tener presentes sentimientos alejados de la razón, y la necesidad ineludible de un intérprete para recrear la sensación sonora de la partitura, haciendo de la interpretación un valor añadido de especial interés.
En el desarrollo del presente trabajo de investigación, estudiamos la posibilidad de reinterpretar la música supliendo el carácter intangible de su soporte habitual, el tiempo, por un soporte físico y material, propio de las artes plásticas, el plano. Evitaremos la literalidad, en aras de un rigor científico y precisa intuición ayudados por una flexible geometría, que deje espacio a las emociones sin paralizarnos en prejuicios estéticos establecidos.
La obra propuesta para esta investigación es El Clave Bien Temperado vol. I (BWV 846-869) de Johann Sebastian Bach, partitura a la que el paso del tiempo ha acrecentado su gran valor teórico, conceptual y didáctico, otorgado por el propio compositor al estar destinada a sus alumnos y especialmente dedicada a sus hijos músicos, sin propósito de ser interpretada ni conocida en público. El Clave Bien Temperado vol. I (BWV 846-869) marca un antes y un después, indispensable final del ciclo barroco y comienzo del periodo ilustrado. Obra intemporal y referente irrevocable del concepto de tonalidad, gracias a la adopción definitiva de la división de la octava en doce sonidos iguales, permitiendo el paso de una tonalidad a otra sin ningún tipo de obstáculos, modulando a cualquiera de las veinticuatro tonalidades, normalizando y racionalizando las leyes que rigen la armonía y el contrapunto del denominado temperamento igual, que a partir de ese momento se transforma en referencia, posibilitando un desarrollo de la composición musical que llega hasta nuestros días...
The purpose of this PhD Thesis explores the connections between Music and Fine Arts, taking Geometry as a reference. The proposed research cannot forget the importance of the creative freedom, which evokes feelings far removed from reason, as well as the absolute necessity a performer must undertake in order to simulate the sound perception of a score, making the performance an added and particularly important value. During the development of this research work, we study the possibility of reinterpreting the Music by replacing the intangible nature of time – its usual support—with the plane – the physical and material support inherent in Fine Arts. That being said and taking into account that it is a reinterpretation, we will avoid, thus, transliterating for the sake of scientific rigour and accurate intuition, being helped by a versatile Geometry, able in this way to leave space for feelings without the stoppage entailed by established esthetic prejudices. In this sense, the proposed piece of music to this research will be Johann Sebastian Bach’s The Well-Tempered Clavier, specifically the vol. I BWV 846-869. Over time, this musical score has been increasing its great theoretical, conceptual and teaching value, bestowed by the composer himself, as it was addressed to his students and especially to his musician children, with no goal of being played neither known by the audience. The Well-Tempered Clavier (vol. I BWV 846-869) marks a turning point in History, becoming the indispensable closing of the Baroque and the begining of the Enlightment. It is, therefore, an everlasting work and a certain reference of the concept of tonality, thanks to the division of an octave into equal twelve sounds. This final adoption allows the tonality transit to another without impediments, modulating to either of the twenty-four tonalities, as well as standardizing and rationalizing the ruling laws of the harmony and counterpoint of the named equal temperament -- also known as twelve-tone equal temperament (TET) -- , become thereafter a facilitator reference of the music composition development until today...
The purpose of this PhD Thesis explores the connections between Music and Fine Arts, taking Geometry as a reference. The proposed research cannot forget the importance of the creative freedom, which evokes feelings far removed from reason, as well as the absolute necessity a performer must undertake in order to simulate the sound perception of a score, making the performance an added and particularly important value. During the development of this research work, we study the possibility of reinterpreting the Music by replacing the intangible nature of time – its usual support—with the plane – the physical and material support inherent in Fine Arts. That being said and taking into account that it is a reinterpretation, we will avoid, thus, transliterating for the sake of scientific rigour and accurate intuition, being helped by a versatile Geometry, able in this way to leave space for feelings without the stoppage entailed by established esthetic prejudices. In this sense, the proposed piece of music to this research will be Johann Sebastian Bach’s The Well-Tempered Clavier, specifically the vol. I BWV 846-869. Over time, this musical score has been increasing its great theoretical, conceptual and teaching value, bestowed by the composer himself, as it was addressed to his students and especially to his musician children, with no goal of being played neither known by the audience. The Well-Tempered Clavier (vol. I BWV 846-869) marks a turning point in History, becoming the indispensable closing of the Baroque and the begining of the Enlightment. It is, therefore, an everlasting work and a certain reference of the concept of tonality, thanks to the division of an octave into equal twelve sounds. This final adoption allows the tonality transit to another without impediments, modulating to either of the twenty-four tonalities, as well as standardizing and rationalizing the ruling laws of the harmony and counterpoint of the named equal temperament -- also known as twelve-tone equal temperament (TET) -- , become thereafter a facilitator reference of the music composition development until today...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, leída el 27/02/2021