El enfoque con que se desarrolla esta investigación pretende combinar elementos de la musicología con los de otras disciplinas de las ciencias sociales y humanidades, y desarrollar su análisis utilizando herramientas del análisis intertextual. Es decir, para el desarrollo de esta tesisno bastará con un análisis formal de la obra, sino que se aplicará un análisis integral que contemple los aspectos contextuales que han enmarcado a la Cantata Popular Santa María de Iquique en distintos momentos de su historia, considerando aspectos sociales, culturales, políticos, que le han dado significado en distintos momentos históricos, redibujando su sentido más profundo y relevante para quienes la escuchan, la cantan y se identifican con esta obra.

The early baroque songs, or cantatas, of Luigi Rossi (1597-1653) are largely absent from the canon of standard Italian vocal repertory utilized by young singers and voice teachers today. In this document Rossi’s composition style is considered, along with modern edition trends, within the emerging genre of Italian early baroque song. Several of Luigi Rossi’s vocal works — chosen for their simplicity, brevity, dramatic content, and suitability for a young singer — are presented in modern transcriptions for voice and piano. The following document lays the groundwork for the inclusion of Luigi Rossi’s songs in the modern canon of Italian vocal music. Part I provides an introduction to Luigi Rossi and the considerations involved in creating modern editions of early baroque solo vocal music. In Chapter 1, Rossi’s patronage and compositional output are considered along with the reception and dissemination of his works in Italy and France. Chapter 2 of this study explores the historical context and lasting influence of Parisotti’s Arie Antiche, the larger collection from which the ubiquitous Schirmer edition, Twenty-four Italian Songs and Arias of the Seventeenth and Eighteenth Centuries, is drawn. One well-known song that appears in the Schirmer edition is Giulio Caccini’s Amarilli, mia bella. In an effort to illustrate trends in modern editions and performance practice, this song is traced from its first appearance in 1602 through representations in modern anthologies. Chapter 3 considers the practical concerns of modern editors of baroque vocal music – such as performance practice applications, ornamentation, and pedagogical considerations – with respect to the cantatas of Luigi Rossi. Chapter 4 discusses the three cantatas by Luigi Rossi that are presented in Part II as performance editions.

Tesina para optar al postítulo en composición musical / El presente trabajo de investigación, composición y análisis ha surgido de la inquietud por conocer el sendero que inició Luis Advis como compositor, centrándome en sus obras que han sido denominadas como “híbridas”, pues mezclan elementos que provienen tanto de la música de tradición escrita como de la música popular. Como parte del desarrollo de este trabajo se realiza también la definición del término “cantata”, siendo su principal antecedente la cantata barroca, como género musical. Luego se realiza una breve descripción de las obras “Cantata Santa María de Iquique” y “Canto para una semilla”. Esta investigación culmina con la creación de una cantata, basada en el modelo musical de creación propuesto por Luis Advis. El tema de la cantata que he elegido es la figura de Víctor Jara, a modo de homenaje, por su relevancia como personaje emblemático dentro de la historia de Chile. A su vez, tratándose de un trabajo de composición, he agregado fichas donde se describen los instrumentos que Luis Advis usa en ambas cantatas, que provienen de la música Latinoamericana y que son utilizados en la obra “Víctor Jara, fragmentos de la vida del cantor”. Finalmente, se han incluido descripciones de los textos que fueron referentes significativos para la elaboración del texto de mi cantata.

The composition which follows is a sacred cantata entitled Peace. It is a musical composition utilizing soprano, tenor, and baritone soli and mixed chorus with keyboard accompaniment, and deals with peace as it applies to the much discussed problem of world unity. It may be presented effectively with piano or organ accompaniment and mey be arranged for orchestra or ensemble accompaniment.

In Morte Nobilis is a cantata for chamber orchestra and three vocal soloists, and is approximately seventeen minutes in duration. Each of the three movements features a different vocal soloists (soprano, baritone, or tenor) and each movement concerns a specific Christian martyr. Texts for In Morte Nobilis are extracted from the writings and biographies of the martyrs. Each text gives the listener some insight as to how each martyr faced their death with courage and unwavering faith. The music of In Morte Nobilis gives additional insight as to what these martyrs faced. This is accomplished through a building and release of tension and dissonance, as well as some use of non-standard vocal technique.

No description available.

Tyzen Hsiao (1938- ) is one of the prominent Taiwanese composers of recent years. His compositions include many different musical genres. Among them, choral music is the category of the majority. There are more than eighty choral pieces in all, some sacred and some secular. The Prodigal Son, completed in 2000, is Hsiao¡¦s principle sacred composition. It is written for five soloists, mixed chorus, and piano accompaniment. The text of the work comes from the Bible. The music is divided into eleven parts: a piano introduction, two solo and eight choral sections. All solos, choral and piano parts are constructed in a very thoughtful way; and it demonstrates good compositional techniques, originality, and correlation of text and music; therefore it is a well-composed piece. This thesis consists of five chapters. Chapter One introduces the material. Chapter Two is the background of Tyzen Hsiao: Part one is a biographic sketch of Hsiao¡¦s life; Part two generally describes Hsiao¡¦s compositional development ; Part three explains the style and feature of Hsiao¡¦s musical works; Part four introduces Hsiao¡¦s choral compositions. Chapter Three focuses on analysis of The Prodigal Son, consisting of four sections. The first section is about why and how this work became a reality. The second section discusses the origin of the text. The third section is about the borrowed melody, and the last contains the musical analysis of the work. Chapter Four supplies a rehearsal technique and a teaching suggestion for the director of a performance The Prodigal Son. Chapter Five provides the writer¡¦s conclusion from the study. In the end of this thesis is an appendix which gives a phonetic transcription of The Prodigal Son in Roman letters. Hopefully it can be a helpful diction reference for conductors and singers.

Magíster en artes con mención en composición musical / El presente trabajo es la concreción de mi proyecto de tesis para el Magister en Artes con mención en Composición Musical, del programa de Post Grado de la Facultad de Artes de la Universidad de Chile. Aquí el lector podrá encontrar aspectos motivacionales y técnico – poéticos referidos a mi obra “Cantata El Cobre, 28 de Marzo de 1965”, para Orquesta, coro mixto y Cantor Popular, compuesta sobre un conjunto de textos venidos del relato oral de las víctimas directas de la tragedia del terremoto del 28 de Marzo de 1965 en El Melón, donde, por la acción telúrica mencionada, un enorme relave sepultó el campamento minero “El Cobre” matando a una gran cantidad de pobladores. Atendiendo a la ineludible necesidad de generar una reflexión composicional respecto de la obra, el presente escrito da cuenta de un conjunto de pensamientos en torno a la problemática musical que significó para mí la creación de la misma, además de ensayar la hipótesis que pudiese resolverla; por lo que aquí intento comunicar los procedimientos técnicos utilizados para lograr el objetivo mencionado, siempre sobre la base de un estado del arte que oriente la ruta propuesta, además de reflexionar constantemente en torno al sentido de las acciones realizadas durante el proceso de composición. Así pues, el trabajo aquí presentado aborda paso a paso la experiencia de querer musicalizar un testimonio para cantarle a una tragedia que vive en los recuerdos de sus herederos, entre los cuales se encuentra mi familia entera.

A Psalm Fantasy is a cantata in three movements for mezzo-soprano or baritone soloist, chorus of mixed voices and orchestra. The orchestra comprises two flutes, oboe, English horn, two clarinets in B-flat, bass clarinet, two bassoons, four horns in F, three trumpets in B-flat, three trombones, tuba, timpani, cymbals, xylophone, harp and strings.

The purpose of this study is to demonstrate that Cantate pour l'inauguration du Musee de l'Homme, op. 164, Darius Milhaud's musical setting of a poem by Robert Desnos, can be made accessible to choral ensembles by employing a choir in addition to the vocal quartet traditionally used in performances, thereby reflecting more accurately the poet's concept of the work, even though these indications are not present in Milhaud's musical score.In order to provide conductors and scholars with the tools to understand and perform Cantate pour l'inauguration du Musee de l'Homme, in this document I describe the work, analyze its poetic and musical structure, trace its performance history and practice, and suggest ways to realize Desnos's original concept of the work. I also present some possible explanations as to why Milhaud did not include any indication for vocal performance forces in Cantate pour l'inauguration du Musee de l'Homme, and why he himself performed the work with vocal quartet and not with choir. Finally, I propose that employing a choir in addition to soloists for Cantate pour l'inauguration du Musee de l'Homme is consistent with the performance history of Milhaud's other vocal quartet works of similar style.