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Writing Modernist and Avant-Garde Music in Mexico

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Writing Modernist and Avant-Garde Music in Mexico WRITING MODERNIST AND AVANT-GARDE MUSIC IN MEXICO: PERFORMATIVITY, TRANSCULTURATION AND IDENTITY AFTER THE REVOLUTION, 1920-1930 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Alejandro L. Madrid-González, M.F.A., M.M. * * * * * The Ohio State University 2003 Dissertation Committee: Approved by Professor Arved Ashby, Adviser Professor Ignacio Corona __________________ Professor Jill Lane Adviser School of Music Professor Margarita Mazo Copyright by Alejandro L. Madrid 2003 ABSTRACT In my dissertation I study the traditional rhetoric of Mexican cultural history that interprets post-revolutionary artistic manifestations as a “natural,” almost teleological outcome of the Mexican Revolution. As with every historical narrative, this revolutionary hegemonic discourse developed out of a “myth of origin” which homologated the identity of the nation with the ideology of the new state. As part of this process, the modernist and avant-garde works of Julián Carrillo (1875-1965), Carlos Chávez (1899-1978), and Manuel M. Ponce (1882-1948) were written into the “official” discourse of the Mexican Revolution by adjusting them (as imitation of European styles, and nationalist and proto- nationalist musics respectively) to its ideological requirements. I propose an alternative reading that recognizes the complex social and cultural construction of that ideology and the uncertainties created by this process. To study these events I develop a model of identity construction that emphasizes agency and choice as individual action within changing ideologies. Under this paradigm, I analyze the artistic activities of Carrillo, Chávez, and Ponce in the 1920s as the result of individual action confronting power and struggling for hegemony, and consider their musical styles as sites of individual ideological struggle. ii My work re-enacts a double performative exercise. First, the composers’ self- representation and identification through musical style, and second, the composer’s role in the construction and execution of a hegemonic discourse that re-wrote them a posteriori, according to the nationalist principles of the dominant regime. iii To Claudia iv ACKNOWLEDGMENTS This project reflects the interest, support, and benevolence of many people. I wish to express my deep gratitude to my adviser, Arved Ashby, whose attention, guidance, encouragement, and patience have proved invaluable in academic and everyday life. This project also benefited from the insightful suggestions of my advisory committee members, Ignacio Corona, Jill Lane, and Margarita Mazo. I am especially appreciative of Professor Lane for her indispensable direction with issues of social, cultural, and performance theories and Professor Mazo for sharing with me her ideas on identity and setting me free me to develop them in my own way. Numerous individuals with whom I have had contact have enriched this study in countless ways. Gregory Proctor and Dina Lentsner both provided helpful suggestions, and criticism regarding Schenkerian theory and music analysis. My deep appreciation goes to Leonora Saavedra for the sporadic but enlightening discussions on Mexican musical life in the 1920s over the last four years, and Ricardo Miranda for generously giving me access to his own research and offering copies of difficult-to-locate music scores. Special thanks are due to Jaime Moreno Villarreal and Antonio Saborit for their ideas and suggestions on Mexican cultural history in the early stages of this research. v I would like to offer thanks to Joel Almazán Orihuela, Maestro Mario Lavista, Matanya Ophee, José Antonio Robles Cahero, and Luisa Vilar-Payá for their encouragement and assistance at the beginning of my doctoral adventure. I am indebted to the Ford Foundation, the Center for Latin American Studies at The Ohio State University, and Mexico’s Fondo Nacional para la Cultura y las Artes (FONCA) and its Programa de Becas para Estudios en el Extranjero, for their generous support. A scholarship from FONCA allowed me to focus on my studies throughout my term at Ohio State. Two Research Grants from the Tinker Foundation, administered by the Center for Latin American Studies permitted me to conduct dissertation research in Mexico and the US. Subsequently, a Ford Foundation Dissertation Fellowship allowed me to concentrate fully on writing my dissertation. Thanks are also offered to Carmen Carrillo de Viramontes for permission to consult the privately-held collection of the Julián Carrillo Museum, and to Omar Hernández for his kind assistance and guidance during the time I spent at this archive. I am also grateful to Karl Bellinghausen for granting me access to the historic archive of the National Conservatory of Music in Mexico City. My sincere gratitude is also expressed to the staff of the Centro de Estudios sobre la Universidad (CESU-UNAM) for gently facilitating me copies of all the primary source materials I requested. Thanks to Editions Jobert for permission to quote passages from Julián Carrillo’s Cuarteto atonal a Debussy and En secreto for string quartet, G. Schirmer for permission to quote passages from Carlos Chávez’s “36” from Seven Pieces for piano and Energía for chamber ensemble, and Schott Musik International for permission to quote passages from Manuel M. Ponce’s Sonata III for guitar. vi Sincere gratitude is extended to Professor Malena Kuss for introducing me to the world of musicology, inspiring me to conduct research on Latin American music, and guiding me towards The Ohio State University. To my family –especially my two Ana Berthas, who eventually became archive researchers on my behalf– I offer my heartfelt thanks. Finally, to Claudia, my partner in life, I offer my unbounded gratitude for her unflagging commitment, understanding, supportiveness, love, and the countless hours of intellectually stimulating conversation that have inevitably shaped me and my work. vii VITA August 25, 1968……………………. Born – Houston, Texas 1987-89.............................................. Undergraduate Study at the Escuela Nacional de Música-UNAM, Mexico City, Mexico 1992………………………………... B.Mus. (Cum Laude), The Boston Conservatory of Music, Boston, Massachusetts 1995………………………………... M.F.A., The State University of New York at Purchase, Purchase, New York 1995-97……………………………...Graduate Teaching Fellow, University of North Texas, Denton, Texas 1997-99.............................................. Research Associate, Centro Nacional de Investigación, Documentación e Información Musical “Carlos Chávez,” Mexico City, Mexico 1998-99.............................................. Adjunct Professor, Universidad de las Américas- Puebla, Cholula, Mexico 1999…………………………………M.Mus., University of North Texas, Denton, Texas 1999-2002…………………………...Graduate Teaching Associate, The Ohio State University 2002-present………………………... Ford Foundation Dissertation Fellow viii PUBLICATIONS 1. A. L. Madrid, “Transculturación, performatividad e identidad en la Sinfonía No. 1 de Julián Carrillo.” Resonancias No. 12 (2003). 2. A. L. Madrid, “Prácticas de significación e identidad. Los estudios culturales y la musicología.” Fragmentos de cultura, Vol. XII, No. 5 (2002). 3. A. L. Madrid, “Modernismo, futurismo y kenosis: Las canciones de Átropo según Julián Carrillo y Carlos Chávez.” Heterofonía, Vol. XXXIII, No.123 (2000). 4. A. L. Madrid, “Rafael Adame: A Biographical Sketch and an Aesthetic Appraisal.” Introduction to Rafael Adame. Concierto clásico for Guitar and Orchestra (Columbus: Editions Orphee, 2000). 5. A. L. Madrid, “De México, concierto para Andrés Segovia: una visita al Concierto del sur de Manuel M. Ponce.” Heterofonía, Vol. XXI, No. 118-119 (1998). FIELDS OF STUDY Major Field: Music Minor Field: Comparative Cultural Studies ix TABLE OF CONTENTS Page Abstract …………………………………………………………………..………...…… ii Dedication ………..……………………………………………………….………..…… iv Acknowledgments …...………………………………………………………………….. v Vita ………………………………………………………………………..……….…... vii List of Examples …...…………………………………………………….……….…..... xii List of Figures ……………………………………………………………………….… xiv List of Tables …………………………………………….……………………...…...… xv Introduction. Writing Music……………………...………..……………………….….… 1 A Model for Interpretation ……………………………………….……………… 7 Modernity, Modernization, and Modernism in the Margins ….…..……………. 12 Transculturation, Performativity, and Performative Composition ………...…... 16 Historical Background …………..………...……………………….…………... 20 Applying the Model …………………………….………………….……...…… 22 Musicology as Cultural Study ………………………………………………….. 31 Chapter 1. Modernism, Teleology, and Identity. Toward a Cultural Understanding of Julián Carrillo’s Sonido 13 ….....……………………….…………….……….…….. 34 Chapter 2. Performing Identity through the Avant-Garde. Style and Ideology in Carlos Chávez’s Early Music ….....……………………………………...……….…….. 73 x Chapter 3. Agency and Dispossession in Changing Worlds. Manuel M. Ponce and Representation as Identity in Post-Revolution Mexico .............………...…...….……. 114 Chapter 4. Real, Imaginary and Symbolic Modernity. The First National Congress of Music as Synecdoche of Discourses ………………..............………...…...….……. 156 Chapter 5. Conclusion: Contingency and Negotiation of Identities …………….....…. 190 Bibliography …………………………………………..............………...…...….……. 218 xi LIST OF EXAMPLES Example Page 1.1 Carrillo, Preludio a Colón. Component Aiia .……………...........……...........…… 49 1.2 Carrillo, Preludio a Colón. Different presentations
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