No description available.

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica mención Literatura / Este trabajo es una aproximación a la obra del poeta, compositor y cultor de la cueca urbana, Hernán Nuñez Oyarce (1914-2005), particularmente a su libro de cuartetas y relatos Mi gran cueca, crónicas de la cueca brava, publicado en 2005. Específicamente, el trabajo identifica aquellos elementos intrínsecos y fundamentales de la identidad popular urbana conforme se presentan en las imágenes poéticas que construye el autor. Además, destaca los elementos autobiográficos contenidos en dichas cuartetas y arroja luz sobre las maneras a través de las cuales Nuñez construye su identidad personal en torno a la práctica de la cueca urbana, la indiscutible protagonista de la cultura festiva popular desarrollada en los barrios marginales de Santiago desde fines del siglo XIX hasta comienzos de la década de 1970. / This report is a preliminary study of the work of the poet, composer and urban cueca expert, Hernán Nuñez Oyarce (1914-2005). The study specifically examines his book of quatrains and stories: Mi gran cueca, crónicas de la cueca brava, published in 2005. The analysis identifies the intrinsic and fundamental aspects of the identity of poor urban groups, as presented in the poetic images by the author. Additionally, the study highlights the autobiographical elements in the author‟s writing and sheds light on the ways through which Nuñez builds his own personal identity around the practice of the urban cueca, the indisputable protagonist of the festive popular culture that developed in the peripheral quarters of Santiago, Chile, from the end of the 19th century through the early 70s.

Orientador: Alberto Tsuyoshi Ikeda / Banca: Gisela Gomes Pupo Nogueira / Banca: Renato Braz Oliveira de Seixas / Resumo: A presente dissertação tem como objeto de estudo a música latino-americana que, estando vinculada a preceitos da música européia ocidental, foi inspirada em músicas populares latinoamericanas, o que a caracteriza como música híbrida. Devido à magnitude deste objeto, foi estudado o caso específico do violonista e compositor paraguaio Agustín Barrios (1885-1944), que compôs, para o violão de concerto, peças inspiradas em expressões musicais populares de diversas regiões e países da América Latina. Com o propósito de compreender melhor as características da música popular que estas peças mantêm quando levadas às salas de concerto, foi analisada uma obra dele, Cueca, a partir de um estudo da dança popular na qual foi inspirada. Na dissertação também foi apresentado, por meio de pesquisa bibliográfica, o contexto sóciocultural e histórico em que surgiu esta música híbrida na América Latina, assim como a sua relevância na atualidade. A partir disto foram propostos alguns elementos de reflexão que podem servir nos campos da interpretação, ensino/aprendizagem, composição e pesquisa de músicas híbridas latino-americanas / Abstract: The object of study of this dissertation is the music in Latin America that, being linked to precepts of West European music, was inspired by Latin American popular music, which characterizes it as being hybrid. Due to the magnitude of such object, the specific case of Paraguayan guitarist and composer Agustín Barrios (1885-1944) was studied. Barrios composed, for the concert guitar, works inspired by popular music expressions of many different regions and countries of Latin America. Aiming to better understand the characteristics of the popular music that these pieces keep when taken to the concert halls, a piece by this composer, Cueca, was analyzed. This analysis was based on a study of the popular dance that inspired the work. This dissertation also presents, through a bibliographical research, the social, cultural and historical context in which this hybrid music originated in Latin America, as well as its relevance in the present. Finally, some points of reflection were brought forward, aiming to contribute in the fields of interpretation, teaching/learning, composition and research of Latin American hybrid music / Mestre

Diseñador Gráfico / No autorizada por el autor para ser publicada a texto completo / El contenido de este proyecto es la cueca urbana como patrimonio cultural intangible, la importancia y reivindicación de la versión urbana de la cueca tradicional que nos imponen desde la infancia, la versión sin disfraces y que a pesar de las dificultades que le han impuesto esta cada día más vigente y aceptada. Los temas que aborda el trabajo son el diseño editorial, la fotografía, la edición de fotografías, la edición de textos y la producción e impresión de un libro.

Made available in DSpace on 2014-06-11T19:25:25Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-06-27Bitstream added on 2014-06-13T19:53:09Z : No. of bitstreams: 1 eid_fc_me_ia.pdf: 1891972 bytes, checksum: e747f2151e63d6df3afcd1522918d24a (MD5) / A presente dissertação tem como objeto de estudo a música latino-americana que, estando vinculada a preceitos da música européia ocidental, foi inspirada em músicas populares latinoamericanas, o que a caracteriza como música híbrida. Devido à magnitude deste objeto, foi estudado o caso específico do violonista e compositor paraguaio Agustín Barrios (1885-1944), que compôs, para o violão de concerto, peças inspiradas em expressões musicais populares de diversas regiões e países da América Latina. Com o propósito de compreender melhor as características da música popular que estas peças mantêm quando levadas às salas de concerto, foi analisada uma obra dele, Cueca, a partir de um estudo da dança popular na qual foi inspirada. Na dissertação também foi apresentado, por meio de pesquisa bibliográfica, o contexto sóciocultural e histórico em que surgiu esta música híbrida na América Latina, assim como a sua relevância na atualidade. A partir disto foram propostos alguns elementos de reflexão que podem servir nos campos da interpretação, ensino/aprendizagem, composição e pesquisa de músicas híbridas latino-americanas / The object of study of this dissertation is the music in Latin America that, being linked to precepts of West European music, was inspired by Latin American popular music, which characterizes it as being hybrid. Due to the magnitude of such object, the specific case of Paraguayan guitarist and composer Agustín Barrios (1885-1944) was studied. Barrios composed, for the concert guitar, works inspired by popular music expressions of many different regions and countries of Latin America. Aiming to better understand the characteristics of the popular music that these pieces keep when taken to the concert halls, a piece by this composer, Cueca, was analyzed. This analysis was based on a study of the popular dance that inspired the work. This dissertation also presents, through a bibliographical research, the social, cultural and historical context in which this hybrid music originated in Latin America, as well as its relevance in the present. Finally, some points of reflection were brought forward, aiming to contribute in the fields of interpretation, teaching/learning, composition and research of Latin American hybrid music

No description available.

Agustin Barrios's guitar music has become increasingly popular over the last forty years. After his death, a revival of interest in his compositions began in the 1970s, motivated by a series of publications and recordings of his music by important guitar performers at that time. The most important of these recordings came from the Australian guitar performer John Williams, who was interviewed in 1976 by ABC Television Australia for a film about the Paraguayan composer. The next year, Williams recorded a collection of fifteen works in his album John Williams-Barrios: John Williams Plays the Music of Agustín Barrios Mangoré. After this, the published editions of Barrios's works have proliferated, many of these transcriptions of the composer's own recordings. However, the publication of differing transcriptions has led to a lack of authoritative editions, creating a confusing situation for performers. Therefore, this research intends to highlight the importance of making critical editions of Barrios's works based on folk music, using the Cueca as an example. This research offers an analysis and comparison of Chilean cuecas from the first half of the twentieth-century--the timeframe in which Barrios was in contact with this genre--to Barrios's Cueca. Second, it proposes a critical/performance edition of Barrios's work taking into account both the performance practice of traditional Chilean cuecas, and the two primary sources of this work: a handwritten manuscript and the composer's own recording. This research does not analyze nor compares the Argentinian and Bolivian versions of the cueca.

Magíster en artes con mención en composición musical / El principal objetivo del presente trabajo es la presentación de una obra original académica en donde se incorporan elementos musicales provenientes de la cueca de la zona central de Chile. Realizando también un análisis de esta. Por esto presentamos el estado del arte. Exponiendo algunos compositores contemporáneos que están trabajando en esta línea y otros que lo hicieron en el pasado. Indagamos los principales estudios históricos, musicológicos y revisiones bibliográficas, con respecto a los orígenes de la cueca, mostrando las diferentes visiones existentes. Su posible origen autóctono, africano o hispano-árabe. Con un breve análisis de un fragmento transcrito de la cueca tradicional “Adiós Santiago querido”, mostramos los rasgos musicales más característicos de esta danza, los cuales están incorporados en el tipo de obras que señalamos con antelación. La pertinencia de la obra de tesis radica en el aporte que hace a la música académica incorporando al repertorio nacional un trabajo artístico de carácter propio y distintivo, que representa a un tiempo y lugar, que es identitaria, y aporta a un camino ya trazado con obras musicales académicas que incorporaron a la cueca en el pasado y con compositores que lo hacen hoy.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-07-11T18:12:28Z No. of bitstreams: 1 NicolasGervasioPanatteri_DISSERT.pdf: 3056447 bytes, checksum: 687248ac10671874e4b6fa0ce7f7aa39 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-07-19T20:33:58Z (GMT) No. of bitstreams: 1 NicolasGervasioPanatteri_DISSERT.pdf: 3056447 bytes, checksum: 687248ac10671874e4b6fa0ce7f7aa39 (MD5) / Made available in DSpace on 2016-07-19T20:33:58Z (GMT). No. of bitstreams: 1 NicolasGervasioPanatteri_DISSERT.pdf: 3056447 bytes, checksum: 687248ac10671874e4b6fa0ce7f7aa39 (MD5) Previous issue date: 2015-12-15 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior (CAPES) / Carlos Guastavino ? um dos mais destacados compositores argentinos do s?culo XX, dono de um particular estilo composicional que conseguiu encurtar a dist?ncia existente entre a m?sica erudita e folcl?rica na Argentina. Este artigo aborda as pe?as para clarinete e piano do compositor, Tonada y Cueca e a Sonata para clarinete y piano, com o objetivo de informar poss?veis int?rpretes sobre quest?es estil?sticas pr?prias de Guastavino, assim como influ?ncias da m?sica folcl?rica argentina. Este artigo tamb?m procura fornecer ferramentas ao estudo e ? performance destas obras.

Cette recherche aborde le chant de la cueca chilienne à travers le spectre de la voix dans la construction de représentations sociales, et ce, sur la base d’une méthodologie mixte qui combine la recherche bibliographique, l’observation participante, les entrevues et l’analyse musicale. Comme point de départ, on remarque la pratique d’une cueca surnommée urbana, brava ou chilenera, caractérisée par un timbre vocal singulier associé au milieu « populaire » des chanteurs. Remontant aux premières traces de la cueca, au Chili, le chapitre 2 aborde les descriptions de la voix de la zamacueca au XIXe siècle publié dans des récits de voyage. L’analyse du contexte dans lequel ces récits se publient permet de constater que l’idée du caractère nasal de la cueca s’associe à la constitution d’altérité. Le chapitre 3 aborde la façon dont une théorie spécifique sur l’origine de la cueca chilienne contribue aux conceptions de la voix dans le genre. Le sujet de la nasalité apparaît encore, cette fois-ci imbriqué dans l’imagination de l’origine arabo-andalouse de la cueca. S’intéressant à la représentation du sujet populaire, le chapitre 4 expose deux figures centrales de la culture chilienne : le huaso et le roto, représentants du paysan et du sujet urbain, tous deux entremêlés avec des discours nationalistes. Le « parler populaire » apparaît représenté dans divers styles de cueca, en produisant des vocalités affectées par l’imagination de la classe sociale, et ce dans le contexte de débats sur l’authenticité. Le chapitre 5 aborde finalement l’expérience vécue par de jeunes chanteurs actifs sur une scène de revitalisation. Leurs dynamiques de chant en groupe soulignent l’impact de la compétition sur le déploiement de la voix. La pratique structurée selon le chant en ronde - chant à la rueda – montrera que la production d’un « bon pito », soit d’une voix adéquate à la cueca, révèle la nécessité d’adapter les voix aux besoins du groupe. La conclusion met en lumière que le rapport entre voix et style se présente comme une correlation cruciale pour comprendre non seulement la diversité des variantes de cuecas existantes à un moment donné, mais également leurs transformations au cours du temps par l’entremise d’un processus de stylisation. Au-delà du style, pourtant, la voix paraît exprimer quelque chose du sujet qui la fait résonner. Par ce biais, les diverses étiquettes accompagnant le terme cueca nous informent sur les caractéristiques ethniques, du genre et de classe des chanteurs, y compris les différentes voix d’un même sujet qui chante. / This thesis studies the singing of Chilean cueca by examining the relationship between voice and social representations through a mixed methodology that combines bibliographical research, participant observation, interviews and music analysis. It starts out by teasing apart the type of cueca dubbed urbana, brava or chilenera, whose singular vocal sound is linked to the singers’ belonging to “popular” sectors of society. Next, by returning to the earliest roots of the cueca in Chile, Chapter 2, analyses several depictions of voice in zamacueca found in travelogues during the nineteenth century. Through an analysis of the context in which such depictions were produced, it shows how the propsed nasal sound of zamacueca is articulated as creating otherness. Chapter 3, explores the impact that one specific theory on the origins of Chilean cueca has had on the way in which voice in this genre is conceived. Nasality reemerges here, this time endowed with the imagination of the Arab-Andalusian. With regard to the representation of the popular subject, Chapter 4, exposes two of the main figures in Chilean culture—the huaso and the roto—each one respectively representing the rural and the urban subject intertwined with nationalist discourses. In the context of debates on authenticity, representations of “popular speaking” surface across different styles of cueca, producing vocalities affected by the imagination of social class. The final chapter focuses on the experiences of young singers active in the current revival scene. Their collective dynamics increase the impact of competition on vocal practices. Specifically, singing a la rueda, or taking turns singing in a circle, demonstrates how having a “good pito”—an adequate cueca voice—requires adapting one’s own voice to the needs of the group. The conclusion confirms that the relationship between voice and style is a crucial for understanding, not only a variety of cueca renditions, but also their transformations over time, through processes of stylization. Moreover, the diverse labels accompanying the term cueca are indicative of ethnic, gender and class based characteristics espoused by the singers, which inflence their different voices.