MUSIC AND MUSICOLOGY (2)

Author: DIAZ MORLAN ISABEL.
Year: 2005.
University: PAÍS VASCO [www.ehu.es].
Place of defense: F. FILOLOGÍA, GEOGRAFÍA E HISTORIA.
Place of preparation: F. FILOLOGIA, GEOGRAFÍA E HISTORIA.

Summary: The thesis has been the documentation and study of the songs for voice and piano authors of the basque country that were composed and edited between 1870 and 1939. The work has enabled documentation: 1-Developing a software tool appropriate to the specific circumstances of the type of document cataloging and objectives of the investigation. 2 - Develop a database of songs documentary, which has practical consequences availability of a basis for consultation and prepared for study, and the creation of a catalog of songs. The survey work has been carried out in two phases that meant the use of two different methodologies. In the first phase we have extensively described by statistical methodology operation, the contents of key areas of the chips catalográficas from our database. The second phase has been conducting analytical work on the material inventory. We have designed an appropriate method of analysis, which has led to, among other things, a possible classification of the different types of song that shaped the music scene in the Basque Country in the time period studied.

Author: TOLMOS TENA ANTONIO.
Year: 2005.
University: NACIONAL DE EDUCACIÓN A DISTANCIA [www.uned.es].
Place of defense: EDUCACIÓN.
Place of preparation: FACULTAD DE EDUCACIÓN.

Summary: Foster improvisation music at the stage of the first cycle of the average degree of qualification piano has a direct impact on enriching various fields. First, it helps to assimilate purely theoretical that the student has received in learning content, and finding out why your logic and the reality of sound. Moreover, the experience that originates improvisation is also reflected in the time to interpret music is not improvised, giving a sense that more global and not fragmented because of the usual study compass to beat. Taking this idea as a working hypothesis, afirmaremos also that in musical improvisation, music and emotion that she produces born at the same time, however, in a previously studied music born in the first time to face the music but the emotion, if it comes, will be when this book is learned and assimilated. We must stress that encourage creative work in the students piano is not seeking sole purpose that it knows improvise as an end product. The improvisation as a form of music just has characterized its space in music and modern jazz. The classical musician trend is not likely to ever need to improvise. But if the musician has received in his learning stage notions on composition creative improvisation and has been invited to show their feelings in the form of music, it is possible that in his interpretation, if a concert in their classes, if a teacher, and life itself, waste a great enthusiasm because they want to communicate everything that has deeply assimilated. Their credibility will increase tremendously. To ensure that a student comes to improvise, we will need to learn how to do this and to achieve this we need support from the student hand in the early stages of improvisation to gradually go alone and letting him finish lanzándole vacuum and improvise musically and speak as that he wants. The exercises designed programs of this research is a gradual process of learning where students will be guided with ideas half-prepared, which will aim to slowly can bring their own ideas and original. This research is designed and implemented a project to improvise pianística methodology to assess their viability in the Curricula of the Conservatory and School of Music. The investigation was conducted with students from first cycle of mid-level piano aged between 13 and 14 years. They are taught on an individual classes pianística improvisation. These sessions serve parala obtain data and observations on the changing student in the creative capacity of improvisation, interpretation and the assimilation of the contents of theory and harmony worked at their level. In the same way, he examines each of the exercises proposed to assess its suitability for the program to improvise. Interventions of the students are recorded on audio and video, can only observe their hands on the keyboard with aerial view, in this way by ensuring their privacy. Thanks to the valuations obtained during the investigation shall be the appropriate conclusions. These, in turn, will serve to design a proposal didactic, aiming to enhance the creative aspects of the curricula of piano music schools. The teaching of instrumental technique that takes place in the Schools of Music Conservatory was originally based on a musical writing. For this reason, improvisation music has no place in the schedules. From this Doctoral Thesis bet on the instant creation as an educational resource that promotes the integral formation of young student and gives it the privilege to communicate with his instrument.

Author: ENCABO FERNÁNDEZ ENRIQUE.
Year: 2005.
University: AUTÓNOMA DE BARCELONA [www.uab.es].
Place of defense: FACULTAT DE FILOSOFIA I LLETRES.
Place of preparation: FACULTAT DE FILOSOFIA I LLETRES.

Summary: The thesis aims to study analyzing the speeches associated with the music scene that developed during the final stretch of the nineteenth century in Spain. In this troubled time, in which the system is in crisis Restoration and regionalisms evolved into modern nationalism, the speeches that legitimized through component etnicistas, identity and, in most cases, excluding take place from major public galleries in the country (press, university, political speeches, literature, etc.) and also from the music scene (a point often overlooked in studies). The way forward is the comparison of two key events during the period: on the one hand, the success of the operetta, studying in this case through a book critical of 98, "Giants and cabezudos", which bases its plot in contemporary culture, referring to the war in Cuba, the social problems and finally legitimizing discourse of national identity, on the other hand, the phenomenon of wagnerismo in Catalonia, which serves to identify the "nation" with Catalan Europe, North, progress and so radically differentiate the decréptia Spain. Of course, these phenomena are not unambiguous and allow countless readings: wagnerismo triunga while the flamenquismo in Catalonia, as well as the operetta is desprestigiada by leading intellectuals of the country, but their interest lies in the metadiscurso created from them (thoughts on the difference in races, progress, cultural progress, the greatness of the nation .. speech clearly conservative ideology), which makes them phenomena originalísimos and radical importance in outlining a real-radiography situation in Spain during the year of the disaster, while allowing the understanding of certain myths and beliefs in our contemporary assumed as fundamental, regardless of their modern creation.

Author: Vicens Vidal Francesc.
Year: 2006.
University: AUTÓNOMA DE BARCELONA [www.uab.es].
Place of defense: Facultad de Filosofia y Letras.
Place of preparation: FACULTAD DE FILOSOFIA Y LETRAS.

Summary: Interdisciplinary Study of the iconography of the 24 elders of Revelation in the sculptural and pictorial representations monumental in the Kingdoms Hispanic and in the twelfth century Catalan Counties. The work is divided from four levels of study and two catalogs. The levels are: monuments, the sources written program contexts and musical instruments, and a list of monuments and other texts. Each chapter deals with one aspect of the image of 24 Elderly musicians with an emphasis on a particular facet. The chapter of the monuments analyzes the relationships between the various cycles as well as monumental influences and exchanges between exercised representative models and models marginal. The contribution of texots reconstructs the exegesis of the main comments on the book of Revelation, transmission mechanisms and major contributions. The third chapter brings in connection images and texts to address reading iconológica of each cycle. And finally the fourth chapter explores the musical instruments of des formal point of view and thought about the limitations and possibilities of the image Romanesque music as a potential source of interpretation.

Author: KAIERO CLAVER AINHOA.
Year: 2006.
University: AUTÓNOMA DE BARCELONA [www.uab.es].
Place of defense: FACULTAD DE FILOSOFÍA Y LETRAS.
Place of preparation: FACULTAD DE FILOSOFÍA Y LETRAS DE LA AUTÓNOMA DE BARCELONA.

Summary: The purpose of the work is to determine the coordinates that define an aesthetic postmodern in the field of music, separately and compared with the aesthetics of modern music. We modernity and post-modernity as two ideologies difernetes affecting musical creation (we focus on the poetic). Initially, we considered both discrusos in the realm of thought and philosophy, and then we saw its impact in the specific field of music (considering two approaches rather than as a foreign travel, but as paradigms that emerge from the specific problems that the compositore sse found in the field of music). The speech modern and postmodern fiction are two different relationship to a new socio-economic context, and cultural coordinates departs from the traditional world. The market society generates changes in the system of ownership, and thus, in the articulation of the processes identity. With the introduction of the market, there is an emancipation of music regarding its initial immersion in a social unit and the consequent emergence of various categories and distinct areas: the musical work independently, the creation of a domain-specific music, aprición an autonomous sphere of art. Our work undertakes a review of the articulation of these categories in each of the two aesthetic. The modern aesthetic poses a dialectic articulation of each of these mámbitos. This articulation is carried out in two directions for dietéctica different intending twofold different aesthetic. The first of these, classical corresponds to the positive idealistic conception dela Hegelian dialectics. Inside the design is entered in a manner characterized by the classical ideal of closure and maximum internal consistency, as well as the historic metarrelato "orthodox" in the progress of the material. The second of them, modernist, was correspone with the reformulation of the negative and materialist dialectics of Adonro. It entered the concpeción a piecemeal and open, and the establishment of a historical continuity, away from any projection dogmatic, in which different works will reelaborando a proceos open and infinite materials bequeathed by tradition. The postmodern aesthetic (which we link our work closely with the ideas of philosophy postestructuralista) operates though a de-construcción in categories prevailing in the modern aesthetics and its articulation dialéctica.La identity of the work autonomously is de-construye, like the continuation of a historical tradition. The autonomy of music and the arts are disputed area through intermediate practices and manifestations which are located on the border between art and life. In our work we discussed both aesthetic approaches to a theoretical level and then we tried to analyze the concrete embodiment of these principles into practice and work of individual creators. Our research examines the impact of aesthetic approaches of classical and modern slope in creating musicla of Schoenberg (and other composers of the School of Vienna and Darmstadt), Debussy and Stravinky. With regard to post-modernity, we have linked this pradigma aesthetic approaches to experimental music. Our study was designed to examine the relationship of these post-modern aesthetic approaches in the production of three experimental musicians of the Spanish state: Llorenc Barber, Carles Santos and Pepe Iges.

Author: ZARATE RODRIGUEZ JOSE.
Year: 2006.
University: OVIEDO [www.uniovi.es].
Place of defense: FACULTAD DE GEOGRAFA E HISTORIA.
Place of preparation: REAL ACADEMIA DE ESPAÑA EN ROMA Y EN LA UNIVERSIDAD DE OVIEDO.

Summary: The central theme of this dissertation is the study of language pianístico in members of the "New Music Group." The importance of this group of musicians with similar interests in 1958 and with Enrique Franco as unifier of opinions, is the difficulty they had in reaching a consensus on a way linguistic and aesthetic but not share the same creed. The piano as an instrument has been used as a common line of work based on the technical and expressive, which in many cases have been resolved differently. Note the universe and expressive personality systematic Ramon Barce; experimentation from a rethinking of the fact consonant and the use of mobile form with a new concept of aleatonedad by Luis de Pablo, the search for new techniques and their basic structures consideration for the mood as cyclical element in the achievement of an expressive language of Cristobal Halffter; synchronism aesthetic and the ingenious use of the tonality of Anton Garcia Abril, which gives you a high level communicative; strong musical personality and determining continuity in an expressive line tied to the tonal tradition more dramatically and significantly afrancesada Alberto Blancafort; concern renewal of Manuel Carra, or hue as a recurring role in a significant usefulness as a link of musical language expressive communicator used by Manuel Moreno Buendía, Ember and Fernando Enrique Franco. Our goals have been morphological knowledge and style of music for piano, valuing the languages of each author, and the collection and analysis of documents and bibliographic hemerográficos. The methodology used for this presentation has been a method which includes the procedures used for the study of historical processes, a specific methodology to study music productions of the composers as well as their creative thoughts. The values of all musical composers studied in this research, has been raised in the search for new avenues of expression.

Author: ALBEROLA VERDÚ JOSEP ANTONI.
Year: 2006.
University: VALENCIA [www.uv.es].
Place of defense: FACULTAT DE FILOSOFIA I CIÈNCIES DE L'EDUCACIÓ.
Place of preparation: FACULTAT DE FILOSOFIA I CIÈNCIES DE L'EDUCACIÓ.

Summary: THE PRESENT TESI ON MUSIC TO COL LEGIATA OF XÀTIVA HAS CONSIDERAT AQUESTA INSTITUCIÓ COM AN ELEMENT ACTIU DINS A CONTEXT URBÀ. ELS ELEMENTS THAT CONFORMEN L'URB INTERACTUEN CONDICIONANT L'ORGANITZACIÓ IL'ESPLENDOR OF CAPELLA MUSIC I THE CULTE RELIGIÓS OF SEU. THE DESCRIPCIÓ OF SUCH OCORRIA MUSICALMENT INTRAMURS NO AGE FACTIBLE SENSE IN TENIR COMPTE ALLÒ THAT OCORRIA FORA D'ELLS. CONVENÇUTS THAT ONE INVESTIGACIÓ MUSICOLÒGICA COM TO THE HOME OF TENIR TERME HAS AN VISIÓ MÉS AMPLA, TANT PHYSICAL COM SOCIOLÒGICAMENT, HEM ENTÉS DES D'UN PRINCIPI THAT NOSTRE ESTUDI HAVIA D'EXPANDING THE RECERCA A ASPECTES D'HISTÒRIA SOCIAL ELS QUALS COMPLEMENTAREN THE VESSANT INSTITUTIONAL. AIXÍ, HEM TRACTAT ASPECTES COM THE FINANÇAMENT, TANT DES D'UN PUNT OF VIEW INSTITUTIONAL COM PRIVAT. In MÉS, HEM REALITZAT A ESTUDI ON ELS DIFERENTS CÀRRECS I OFICIS RELACIONATS AMB THE INTERPRETACIÓ OF MUSIC. THE RECERCA OF COMPOSICIONS DELS MESTRES CAPELLA DATADES IN ON ELS PERÍODES THAT CADASCUN D'ELLS OCUPÀ THE MESTRIA OF XÀTIVA HAS DONAT UNS FRUÏTS LIMITATS. MALGRAT POC THE NAME OF COMPOSICIONS LOCALITZADES, MITJANÇANT THE TRANSCRIPCIÓ IL'ANÀLISI D'AQUESTES HEM POGUT REALITZAR A ESTUDI ON MUSIC PRODUÏDA TO SEU OF XÀTIVA PER AQUESTS COMPOSITORS.

Author: LLANO ÁLVAREZ SAMUEL.
Year: 2006.
University: COMPLUTENSE DE MADRID [www.ucm.es].
Place of defense: FACULTAD DE GOEGRAFIA E HISTORIA.
Place of preparation: FACULTAD DE GEOGRAFÍA E HISTORIA.

Summary: The thesis deals with the receipt of Spanish music in Paris between 1898 and 1931, highlighting what prejudices that determine the critical reaction to the arrival of the code, and how they influence the vision of the country was. The thesis also delves into the process of building the national image of Spain launched from Paris. This fact shows that the French capital, his musicians, intellectuals and the public, played an important role in building the national identity of Spain during the early decades of the twentieth century. The image built in Paris, partly inherited after the Spaniards themselves, a picture is concerned, which responds aunos purposes. In the first chapter, the thesis deals with the manipulation of the image of Spain in order to convert it into a cultural side to have to face that threat German culture, especially in the years surrounding World War I wing. The alleged collaboration of Spain is raised within the union that many Latin musicians and intellectuals proposed to boycott Germany. The second chapter discusses the scenes of the Paris opera, over the same period. A tracking operas Spaniards, both Spanish composers of French composers, shows how the image of Spain that was in the company of Paris was changing, according changed interests governing the use of the same, or under the political reality France and social change as well. The third and final chapter looks at the fact that Spain was regarded by musicians and intellectuals Frances as a French province, in the sense that Paris exercised center attracting musicians and intellectuals Spaniards, while also erigía capital trial universal, and facing the Spaniards certainly have to abandon their own principles to obey the criteria of the public and criticism of Paris.

Author: LECIÑENA LOIZU ARANTZAZU.
Year: 2006.
University: LLEIDA [www.udl.es].
Place of defense: UNIVERSITAT DE LLEIDA.
Place of preparation: UNIVERSITAT DE LLEIDA. FACULTAD DE LETRAS.

Summary: This is an analysis of the plays of G. A. Becquer. The works