Publication: Música académica argentina para marimba de finales del siglo XX y su relación con las músicas populares
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2022-02-03
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Universidad Complutense de Madrid
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Abstract
En Argentina -hacia finales del siglo XX- se comienza a percibir un panorama musical más globalizado. Los compositores, que ya vienen con una sólida formación académica, expanden sus ideas hacia nuevas experimentaciones en una búsqueda de su estética personal. Por otro lado, hay una inquietud de crear un repertorio universal original para la marimba de concierto que surge inicialmente en países como Estados Unidos, Francia y Japón a mediados del siglo XX. Este mismo fenómeno se repite en Argentina, pero por otros factores, como la falta y escasez de accesibilidad a los materiales de ese repertorio internacional. El percusionista argentino Ángel Frette fue uno de los intérpretes que difundió la música escrita en nuestro país para este instrumento. Actualmente, estas obras musicales son reconocidas mundialmente e incluidas en festivales internacionales de marimba. De este repertorio, se corresponden las seis obras abordadas en este trabajo de investigación que se citan a continuación: Zamba para escuchar tu silencio (1993) para marimba sola y Ritual y su metáfora (1995) para marimba solista y ensamble de percusión de Guillo Espel, Loncomeo de los niños (1997) para conjunto de cámara de Alejandro Lemos, A Tango for Gary (1999) para marimba sola de Saúl Cosentino, Tres piezas alrededor de la ciudad (1998) para marimba solista y ensamble de percusión de Martín Liut y Buenos Aires 2 escenas (2003) para conjunto de cámara de Carlos Passeggi...
In Argentina -towards the end of the 20th century- a more globalized musical panorama is beginning to be perceived. The composers, who already come with a solid academic education, expand their ideas towards new experimentations in a search for their aesthetics. On the other hand, there is a concern to create an original marimba repertoire that emerged in countries such as the United States, France and Japan in the middle of the 20th century. This same phenomenon repeats in Argentina, due to other factors, such as the lack and scarcity of accessibility to the materials of this international repertoire. The Argentinean percussionist Ángel Frette was one of the performers who spread the music written in our country for this instrument. Currently, these musical works are recognized worldwide and included in International Marimba Festivals. From this repertoire, the six musical works that correspond to this research are: Zamba para escuchar tu silencio (1993) for marimba and Ritual y su metáfora (1995) for marimba and percussion ensemble by Guillo Espel, Loncomeo de los niños (1997) for chamber music by Alejandro Lemos, A Tango for Gary (1999) for marimba by Saúl Cosentino, Tres piezas alrededor de la ciudad (1998) for marimba and percussion ensemble by Martín Liut and Buenos Aires 2 escenas (2003) for chamber music by Carlos Passeggi...
In Argentina -towards the end of the 20th century- a more globalized musical panorama is beginning to be perceived. The composers, who already come with a solid academic education, expand their ideas towards new experimentations in a search for their aesthetics. On the other hand, there is a concern to create an original marimba repertoire that emerged in countries such as the United States, France and Japan in the middle of the 20th century. This same phenomenon repeats in Argentina, due to other factors, such as the lack and scarcity of accessibility to the materials of this international repertoire. The Argentinean percussionist Ángel Frette was one of the performers who spread the music written in our country for this instrument. Currently, these musical works are recognized worldwide and included in International Marimba Festivals. From this repertoire, the six musical works that correspond to this research are: Zamba para escuchar tu silencio (1993) for marimba and Ritual y su metáfora (1995) for marimba and percussion ensemble by Guillo Espel, Loncomeo de los niños (1997) for chamber music by Alejandro Lemos, A Tango for Gary (1999) for marimba by Saúl Cosentino, Tres piezas alrededor de la ciudad (1998) for marimba and percussion ensemble by Martín Liut and Buenos Aires 2 escenas (2003) for chamber music by Carlos Passeggi...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, Departamento de Musicología, leída el 29-10-2021