Disputes concerning the origin of the term bambuco persist among scholars in Colombia, as well as controversies regarding the process of notating the traditional bambuco (3/4 or 6/8), when it penetrates the written tradition of popular music. Composers writing popular and salon bambucos increasingly perceived the advantage of notating it in 6/8. This study investigates the traditional bambuco and its assimilation into nineteenth and twentieth-century cultivated tradition, with emphasis on piano pieces by representative Colombian composers of art music. I include specific analyses of Cuatro preguntas (ca. 1890) by Pedro Morales Pino (1863-1926), ChirimÍa y bambuco (1930) by Antonio MarÍa Valencia (1902-1952), Bambuco en si menor by Adolf o MejÍa (1905-1970), El bambuco by Manuel MarÍa Párraga (c. 1826-1895), and Trozos Nos. 6 and 158 (1927-1970) by Guillermo Uribe HolguÍn (1880-1971).
| Identifer | oai:union.ndltd.org:unt.edu/info:ark/67531/metadc500243 |
| Date | 08 1900 |
| Creators | Martina, Aileen |
| Contributors | Kuss, Malena, Brothers, Lester Dwayne, 1945-, Cho, Gene J. |
| Publisher | University of North Texas |
| Source Sets | University of North Texas |
| Language | English |
| Detected Language | English |
| Type | Thesis or Dissertation |
| Format | Text |
| Coverage | Colombia, 1800-1999 |
| Rights | Public, Copyright, Copyright is held by the author, unless otherwise noted. All rights reserved., Martina, Aileen |
Page generated in 0.0023 seconds