Intertextuality is one of the most used compositional resources throughout the history of music, although there is no unified method to treat it. In the present investigation we will try to solve this problem with a quantitative methodological proposal that contemplates the intertextual theories of Bakhtin, Kristeva, Genette, Burkholder and López-Cano and its application in the field of music in homage to Manuel de Falla. For the development of this study we have used tools elaborated ex profeso for research in the following aspects: in the melodic by vector calculations; In the harmonic through the theories of harmonic superposition of Manuel de Falla; In that of orchestration by means of statistical calculations. / La intertextualidad es uno de los recursos compositivos más empleados a lo largo de la historia de la música, aunque no existe un método unificado para tratarla. En la presente investigación se tratará de resolver dicho problema con una propuesta metodológica cuantitativa que contempla las teorías intertextuales de Bakhtin, Kristeva, Genette, Burkholder y López-Cano, y su aplicación en el ámbito de la música en homenaje a Manuel de Falla. Para el desarrollo de este estudio se han utilizado herramientas elaboradas ex profeso para la investigación en los siguientes aspectos: en el melódico mediante cálculos vectoriales; en el armónico mediante las teorías de superposición armónica de Manuel de Falla; en el de la orquestación mediante cálculos estadísticos. / La intertextualitat és un dels recursos compositius més emprats al llarg de la història de la música, encara que no hi ha un mètode unificat per tractar-la. En la present investigació es tractarà de resoldre aquest problema amb una proposta metodològica quantitativa que contempla les teories intertextuals de Bakhtin, Kristeva, Genette, Burkholder i López-Cano i la seva aplicació en l'àmbit de la música en homenatge a Manuel de Falla. Per al desenvolupament d'aquest estudi s'han utilitzat eines elaborades expressament per a la recerca en els següents aspectes: al melòdic mitjançant càlculs vectorials; en l'harmònic mitjançant les teories de superposició harmònica de Manuel de Falla; en el de l'orquestració mitjançant càlculs estadístics. / Navarro Macià, V. (2017). PROPUESTA METODOLÓGICA PARA EL ANÁLISIS DE LA INTERTEXTUALIDAD MUSICAL: EL CASO DE LOS HOMENAJES A MANUEL DE FALLA [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/90389

The purpose of this paper, analyzing Manuel de Falla’s La vida breve is to Chapter provides the background information, laying out the direction of the paper, and a review of literature pertaining to each chapter. Chapter two presents the origins of flamenco in two separate historical narratives as argued by flamenco scholar, Robin Totton, explaining the difference of … Chapter three analyzes Manuel de Falla’s childhood and his upbringing in the Andalucían city of Cádiz as he encounters elements of gitano culture, which later make their way into his compositions during his nationalistic period. Chapter four analyzes Falla’s first operatic work, La vida breve and focuses on a few musical selections that express flamenco influence. Chapter five brings all of these elements together and discusses the formation of a national identity that utilized flamenco and gitano culture as a way to bring the nation together to form one defining identity. In order to complete this paper, I analyzed a number of biographies on Manuel de Falla, books that documented the development of Spanish music, and previous research documents that discussed the Spanish national identity and its origins that lie within gitano representation. I also analyzed segments of Manuel de Falla’s score for La vida breve to identify the flamenco elements.

Diss.--Musikwissenschaft--Essen--Folkwang Hochschule, 2003. / Textes en espagnol et en français. Bibliogr. p. 316-341.

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Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2017-06-29T19:43:27Z No. of bitstreams: 2 Dissertação - Jorge Luiz de Oliveira Júnior - 2016.pdf: 13207768 bytes, checksum: d446b3a78d91064c1ca76b18ef28861b (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Cláudia Bueno (claudiamoura18@gmail.com) on 2017-07-07T19:36:59Z (GMT) No. of bitstreams: 2 Dissertação - Jorge Luiz de Oliveira Júnior - 2016.pdf: 13207768 bytes, checksum: d446b3a78d91064c1ca76b18ef28861b (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-07-07T19:36:59Z (GMT). No. of bitstreams: 2 Dissertação - Jorge Luiz de Oliveira Júnior - 2016.pdf: 13207768 bytes, checksum: d446b3a78d91064c1ca76b18ef28861b (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-03-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The goal of the present work consists in the development of a mixed edition (critical and diplomatic-interpretative) for solo guitar of Homenaje a Debussy (1920) by spanish composer Manuel de Falla (1876-1946).The produced edition is entirely composed for musical elements derived from documentary sources which do not suffer interference from third parties. The documents were used as it follows: 1. autograph manuscript for guitar (1920), 2. autograph manuscript for piano (1920), 3. edition of the arrangement for orchestra made by the composer (1938). The work was divided into three parts: the first deals with the historical context of Homenaje a Debussy, analysis of stylistic and referential elements in the work, presentation of the work's genealogy and of the 11 documentary sources; in the second we discuss the choice of the edition types and presented a screening of the documentary sources in order to exclude documents, which would have any third party interference; the third and last part consists in the development of the mixed edition from documentary product of the screening in the second part. Finally we present the mixed edition made from the process described herein. / Este trabalho tem por objetivo a elaboração de uma edição mista (crítica e diplomático- interpretativa) para violão solo da Homenaje a Debussy (1920) do compositor espanhol Manuel de Falla (1876 - 1946). A edição produzida é constituída integralmente por elementos musicais oriundos de fontes documentárias que não sofreram interferências de terceiros. Foram utilizados os seguintes documentos: manuscrito autógrafo para violão (1920), manuscrito autógrafo para piano (1920) e edição do arranjo para orquestra feito pelo compositor (1938). O trabalho foi dividido em três partes: a primeira se trata da contextualização histórica da Homenaje a Debussy, análise de elementos estilísticos e referenciais na obra, apresentação da árvore cronológica da obra e das 11 fontes documentárias; na segunda parte dissertamos a respeito da escolha dos tipos de edição e fizemos uma triagem das fontes documentárias visando a exclusão de documentos compostos por qualquer tipo de interferência de terceiros; a terceira e última parte consiste na elaboração da edição mista a partir das fontes documentárias eleitas após triagem feita na segunda parte do trabalho. Ao final apresentamos a edição mista proveniente do processo aqui descrito.

Masters Research - Master of Creative Arts / The study of Love and Death in Art Song and Opera is all- encompassing, threading the study of music with the other arts – literature, especially poetry and drama, and the visual arts, especially painting – and linking the study of philosophy and history, to provide a reference point for the societal attitudes of the time in which my repertoire was written. As the themes of love and death began to be expressed in literature and the arts in the late eighteenth and early nineteenth centuries, my exploration of this theme has grown into a journey through some of the most beautiful, expressive and well-known vocal music of the Romantic era, and into the twentieth century. The Romantics were intimately concerned with the expression of individual emotions, providing me with many opportunities to study repertoire relating to the many aspects of both love and death. It was interesting to discover how musical expression changed within the different national schools I studied – German, French, Spanish, and some Italian arias. I began my study in 1810 with the songs of Franz Schubert. As the master who revolutionized the German Lied, I felt it appropriate to open my first recital, indeed the first two recitals, with a set of Schubert Lieder. I also studied the works of Robert Schumann in the first two recitals, the only composer whose Lieder I studied as single songs and as a song cycle, the well-loved Frauenliebe und Leben. In Recital 2 I turned my attention to French repertoire, with the study of the magnificent song cycle of Hector Berlioz, Les nuits d’été. In the first two recitals I also studied bel canto and French arias. In the third recital I decided to continue my exploration of French Romantic music in relationship to love and death with a set of songs by Gabriel Fauré. My attention turned back to German repertoire - very different, however, from the works of Schubert and Schumann, in the famous song cycle by Richard Wagner, Wesendoncklieder. Two French songs completed this recital. My final recital featured an all-Spanish program, in which I explored my theme in two song cycles, Spanish opera and zarzuela.

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Figure essentielle de la Génération de 1927, Gerardo Diego (Santander, 1896 - Madrid, 1987), une des voix les plus singulières de la poésie espagnole du XXe siècle, est aussi musicien. Familiarisé depuis son enfance à la pratique du piano, il cultive tout au long de sa vie une exceptionnelle passion musicale, maintient des rapports étroits avec d’importants compositeurs et interprètes, et consacre à l’art des sons une partie essentielle de ses poèmes, articles, essais, chroniques, notes, conférences et collaborations radiophoniques. Ce travail de recherche a pour objet l’étude de ses écrits poétiques et en prose sur Fauré, Debussy, Ravel, Falla et Esplá, les cinq compositeurs les plus représentatifs de la “musique de son temps”, au sens à la fois chronologique et esthétique de l’expression. Une fois la personnalité musicale du poète étudiée, l’auteur s’interroge depuis les perspectives croisées de la musicologie, l’esthétique et l’analyse littéraire sur le contenu et la valeur de cette partie encore inexplorée de son œuvre, et dévoile les interférences musicales contenues au sein d’un discours poétique peuplé par les sons. / Gerardo Diego (Santander, 1896 - Madrid, 1987), an essential figure of the Generation of 1927 and one of the most original voices of Spanish poetry in the 20th Century, was also a musician. Brought up on the piano, this poet had an exceptional musical passion his entire life and kept close relationships with important composers and performers. He also dedicated to music a very significant part of his poems, articles, essays, chronicles, notes, conferences and radio collaborations. This investigation focuses particularly on his writings about Fauré, Debussy, Ravel, Falla and Esplá, the five most representative composers of the so-called “music of his time”, both in chronologic and aesthetic sense. After carefully studying the musical personality of Diego, the author analyses from musicological, aesthetic and poetical perspectives this unexplored part of his work and brings to light the musical influences hidden behind the different levels of his poetic writings.