HISTORY OF MUSIC

Author: LASTRA CALERA JULIA.
Year: 2004.
University: COMPLUTENSE DE MADRID [www.ucm.es].
Place of defense: FACULTAD DE GEOGRAFÍA E HISTORIA.
Place of preparation: FACULTAD DE GEOGRAFÍA E HISTORIA. UNIVERSIDAD COMPLUTENSE.

Summary: The Doctoral Thesis The composer duo Arturo Life (1901-1964) Study critical of his life and his work, is divided into an introduction followed by eleven chapters, an Epilogue and conclusions, the catalog works of the author and Literature. The eleven chapters include distributed into four distinct sections, taking into account criteria established biographical and historical context of the circumstances in which he develops his life: 1. "First phase, 1901-1930," 11. "Early thirties, 1930 - 1936, "III. "The Civil War and the forties, 1936-1949", and IV. "Stage of maturity, 1949-1964." In each attempt has been made to provide the main lines of interpretation of each historical period in order to contextualize and provide critical tools that facilitate the assessment of the production of the author in every moment of his life. The first works for piano by Arturo Duo Vital evidence of the legacy of pianismo expressive and romantic cutting salonesco, and his first corals are part of regionalism ideological mountain. However, the author was able to update their budgets aesthetic during his stay in Paris (1930-1932) through the teaching of Paul Dukas and numerous concerts attended in the French capital. The musician who most influenced his career was back Maurice Ravel, he assumed, in addition to their interest in revisiting the past, the importance of structural logic and concise planning of the musical form, interest in the melody and lyrical intent The bid for the expanded tonality and the defense of an orchestration to enhance the individual stamps as opposed to ampulosidad of Germanic orchestration. The main creations Arturo Duo Vital before the outbreak of war, its production symphony Mills Islanders (1933) and zarzuelas The tonadillera (1934), The Golden pirate (I936) and The Gypsy princess (I936), demonstrate their assimilation neoclassicism and their participation in the debates aesthetic of the moment, which resolved through its attachment to the French line of Ravel and Stravinsky and defending the renewal Spanish music in particular through the creation lyrical. The economic situation in post-war Spanish conditioned the work of the composer, who sought to capitalize on its artistic activity presenting composition contests, which frequently required the use of related folk music and writing under the pseudonym Duva!. During the Franco years, the Spanish musical creation was doomed to a practice because of the historicist incommunicado detention, isolation and cultural autarchy which came under Spanish society during much of the Dictatorship. During these years he showed his great motion composing their productions corals more intimate works camerísticas more ambitious and symphonic creations of various dimensions, as Benedicta (1956), Suite Northwest (1957) or Symphony for an anniversary (1960) . Arturo Duo Vital incorporating or avoiding citations folk, engaged in a management parameters debtor neoclassical music of French descent, one country, France, which he returned in 1955 to update its concept of musical theater, whose experience is servió in his opera The Campeador (1961). The critical study of the life and work of the life and work of Arturo Duo Vital can affirm that it was an independent member of the so-called Generation of 27, and demonstrate the inadequacy of any attempt to atribuirJe qualifiers as Regionalist or Neocasticista, sanctioned by part of the historiografia.

Author: Rabaseda i Matas Joaquim.
Year: 2006.
University: AUTÓNOMA DE BARCELONA [www.uab.es].
Place of defense: Autònoma de Barcelona.
Place of preparation: Facultat de Lletres de la Universitat Autònoma de Barcelona.

Summary: The main motivation for the theory analysis was applied to study music history of music. To capture was chosen to investigate a case and determined: the early works of composer Jaume Pahissa i Jo (1880-1969). The Catalan author then became the protagonist of the study, which combined analysis of his compositions with digressions from the materials hemerográficos, library and archival. For reasons of stylistic representation and the relation to its historical context were selected the symphonic poem The camí (1908) and incidental music for Canigó (1910), which are discussed in detail in the thesis. The initial assumption was that there was not just a coincidence between the phenomena musical and social phenomena, that the historical and geographical situation of the Pahissa influenced compositions, and at the same time they were also a sign of its historical and artistic context. Thus, analyzing these works was also analyze a historical document that should be interpreted correctly depending on the parameters and conceptualizations force at the time. The outcome of the research has shown that if one hand analysis is a way of perceiving music, pensarla and criticizing, it can also be an instrument servició of history, because if the analyst making decisions and select party the fact that you want to study, if it always takes a particular approach and a hierarchy of elements involved, then you can take decisions, choices, approaches and hierarchies of the historical characters who studies. Because the analysis portrays a point of view and a way of thinking and judging music. Knowing the parameters and criteria musical Jaume Pahissa and criticism musical background has allowed imagine a continuation of the author's intentions and the assessments of the recipients, who are also dealt with extensively in this thesis. And from here explaining a diverse set of issues that appear and are intertwined: the relationship between Wagner and bullfighting, the transformation of the hearing and behavioral habits of the public, the first attempts at cultural tourism, the implications of a new aesthetic how do politics that emerged in the regional elections of 1901, the complex and hidden coincidence between music Pahissa and new types of modern architecture, the discovery symbolic revaluation and the Mediterranean, the invention of the Greek Catalunya. The thesis is organized into six separate chapters. The first explains the major historical and political vicissitudes of the first decade of the century parallel to the beginnings of Jaume Pahissa and premieres of his compositions. The second addresses these facts in relation to the meanings and implications ideological most relevant. The third chapter is devoted to analyzing the music of The camí and his first reception, which was preceded by a specification of the methodology used. The fourth contains the analysis of various musical numbers Canigó, reception and its scenic and dramatic roles, with a clarification on prior analysis of the role of music in theatrical performances. In the fifth chapter contains the main stylistic features of these two works and venture some general characteristics of the production Jaume Pahissa in correspondence with the general trends of the music of his time and music Catalan. Finally, the last chapter will connect the various research findings with the principal artistic and ideological movement that emerged during those years in Catalonia: "noucentisme."

Author: Pina Caballero Cristina Isabel.
Year: 2006.
University: VALLADOLID [www.uva.es].
Place of defense: Facultad de Educación y Trabajo Social.
Place of preparation: Facultad de Educación y Trabajo Social.

Summary: The objective of this thesis was to learn about the music of a civil developed in Murcia between 1700 and 1788, or to put it another way, between the reigns of King Philip V of Charles III. For the study of these activities have been organized content around four basic points: the house comedies (the building and its reforms, Spanish and Italian companies, codes and genres represented, economic performance, and so on.), The festivities in around the king and his family (funeral and burial, proclamations, marriages, births, birthdays and military victories), the festivities cívico (both ordinary -anuales and from fixed budgets council: Corpus Christi, Immaculate Conception, S . Marcos ...- as extraordinary -beatificaciones and canonizations, consecration of temples ...-) and studio projects (builders of instruments and musicians outside the chapel of the cathedral). Complementing this panorama has included a chapter devoted to aspects estético-ideológicos period, analyzing writings of authors from Murcia or related to Murcia from the seventeenth and eighteenth centuries; through them can be seen from the continuísmo in thinking in relation with music and drama, that jumps the barrier and the centuries of dynastic change. All this is part of a portrait of the city of Murcia in one of the periods of greatest espledor economic, artistic and cultural history, which is reflected in the abundant references in archival documents and printouts of the time to taste the Murcian the festival, music, dance and theater.