Nationalism and Its Expression in Cuba's Art Music: the Use of Folklore in Mario Abril's “Fantasia (Introduction and Pacha
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University of Kentucky UKnowledge University of Kentucky Doctoral Dissertations Graduate School 2011 NATIONALISM AND ITS EXPRESSION IN CUBA’S ART MUSIC: THE USE OF FOLKLORE IN MARIO ABRIL’S “FANTASIA (INTRODUCTION AND PACHANGA)” FOR CLARINET AND PIANO Nikolasa Tejero University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Tejero, Nikolasa, "NATIONALISM AND ITS EXPRESSION IN CUBA’S ART MUSIC: THE USE OF FOLKLORE IN MARIO ABRIL’S “FANTASIA (INTRODUCTION AND PACHANGA)” FOR CLARINET AND PIANO" (2011). University of Kentucky Doctoral Dissertations. 215. https://uknowledge.uky.edu/gradschool_diss/215 This Dissertation is brought to you for free and open access by the Graduate School at UKnowledge. It has been accepted for inclusion in University of Kentucky Doctoral Dissertations by an authorized administrator of UKnowledge. For more information, please contact [email protected]. ABSTRACT OF DISSERTATION Nikolasa Tejero The Graduate School University of Kentucky 2011 NATIONALISM AND ITS EXPRESSION IN CUBA’S ART MUSIC: THE USE OF FOLKLORE IN MARIO ABRIL’S “FANTASIA (INTRODUCTION AND PACHANGA)” FOR CLARINET AND PIANO ABSTRACT OF DISSERTATION A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the School of Music/College of Arts and Sciences at the University of Kentucky By Nikolasa Tejero Lexington, Kentucky Co-Directors: Dr. Richard Domek, Professor of Music and Dr. Scott J. Wright, Associate Professor of Music Lexington, Kentucky 2011 Copyright © Nikolasa Tejero, 2011 ABSTRACT OF DISSERTATION NATIONALISM AND ITS EXPRESSION IN CUBA’S ART MUSIC: THE USE OF FOLKLORE IN MARIO ABRIL’S “FANTASIA (INTRODUCTION AND PACHANGA)” FOR CLARINET AND PIANO In the centuries since the colonization of the New World, the people of Cuba created a strong musical tradition. Initially, their music mirrored the European composition canons of structural, melodic and harmonic order. The eventual confluence of its distinct cultural elements (i.e. the European, African, and, to a lesser extent, Amerindian) led to the emergence of a new, distinctly Cuban musical tradition. The wars for independence that began in the United States and Europe in the eighteenth century created a surge towards political and cultural autonomy that swept across the Latin American colonies, generating a wave of nationalism during the nineteenth century. After finally gaining its independence in 1902, Cuba sought to define itself as a nation. Cubans looked inward to their regional folklore—their indigenous and popular traditions—for the source of their national identity, a trend that became of primary interest to Cuban artists. The nationalist trend found full musical expression during the twentieth century, when composers turned to folklore for their inspiration in creating new art music (works for the concert hall) with a unique sound and vitality. This study concerns itself with the Cuban nationalist movement and its role in the creation of art music by twentieth-century Cuban composers, most specifically that of Mario Abril. The monograph is organized into three general sections: the first section (Chapters 2 and 3) identifies the significant characteristics of nationalism, describes the manifestation of some relevant nationalist movements (e.g., in Europe and Latin America), and explores the manifestation of the nationalist movement in Cuba. The second section (Chapters 4 and 5) provides a history of Cuban art music, concluding with a biographical sketch of composer Mario Abril. The third part (Chapters 6 and 7) consists of a study of the music, beginning with a description of the pertinent characteristics of Cuban popular music, followed by an examination Mario Abril’s Fantasía (Introduction and Pachanga) for clarinet and piano. The document concludes with remarks about the characteristics that qualify the work as an example of Cuban nationalist art music with suggestions for the study and interpretation of the work. KEYWORDS: Nationalism, Cuban Art Music, Fantasia for Clarinet and Piano, Mario Abril, Cuban Folklore and Popular Musical Elements Nikolasa Tejero Student’s Signature April 21, 2011 Date NATIONALISM AND ITS EXPRESSION IN CUBA’S ART MUSIC: THE USE OF FOLKLORE IN MARIO ABRIL’S “FANTASIA (INTRODUCTION AND PACHANGA)” FOR CLARINET AND PIANO By Nikolasa Tejero Richard Domek, Ph.D. Co-Director of Monograph Scott Wright, D.M.A. Co-Director of Monograph Lance Brunner, Ph.D. Director of Graduate Studies April 21, 2011 Date RULES FOR THE USE OF THE DMA PROJECT Unpublished dissertations submitted for the Doctor’s degree and deposited in the University of Kentucky Library are as a rule open for inspection, but are to be used only with due regard to the rights of the authors. Bibliographical references may be noted, but quotations or summaries of parts may be published only with the permission of the author, and with the usual scholarly acknowledgments. Extensive copying or publication of the dissertation in whole or in part also requires the consent of the Dean of the Graduate School of the University of Kentucky. A library that borrows this dissertation for use by its patrons is expected to secure the signature of each user. Name Date DISSERTATION Nikolasa Tejero The Graduate School University of Kentucky 2011 NATIONALISM AND ITS EXPRESSION IN CUBA’S ART MUSIC: THE USE OF FOLKLORE IN MARIO ABRIL’S “FANTASIA (INTRODUCTION AND PACHANGA)” FOR CLARINET AND PIANO DISSERTATION A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the School of Music/College of Arts and Sciences at the University of Kentucky By Nikolasa Tejero Lexington, Kentucky Co-Directors: Richard Domek, PhD, Professor of Music and Dr. Scott J. Wright, DMA, Associate Professor of Music Lexington, Kentucky Copyright © Nikolasa Tejero, 2011 ACKNOWLEDGMENTS This document marks the culmination of a multi-year research endeavor; however, to me it represents but the beginning of a life-long journey toward rediscovering my roots and learning about those of my cultural neighbors. In this spirit, I gratefully acknowledge those persons who have provided help, guidance and support during the research and writing stages of this project. Much gratitude and respect go to my committee members: Dr. Scott J. Wright, Dr. Richard Domek, Prof. Nancy Clauter, Dr. Douglass Kalika, and Dr. Lance Brunner for your expertise, support, and generous spirit. Your encouragement and counsel have made all the difference. Thanks also go to Professor Ruth Adams of the Art Department for serving as reader of the document. My deepest thanks also go to my family for your patience, compassion, and good humor throughout this entire process. Finally, my admiration and sincerest appreciation go to Dr. Mario Abril, for your insight, help, time, and most of all, for creating a clarinet work of such quality and interest that merits study and performance. iii TABLE OF CONTENTS Acknowledgments . iii List of Examples . vi PART I: MONOGRAPH Chapter 1: Introduction. 1 Background . 1 Work Studied . .4 Delimitations. .5 Need for the Study . 5 Review of the Literature by Topic. .6 General Sources on Nationalism, Latin American History and Latin American Music . 6 Specialized sources . .10 Nationalism . .10 Cuba and Mario Abril. 11 Methodology . 12 Expected Findings . .13 Chapter 2: Nationalism . 14 Definitions . 14 Historical Context. 17 Romanticism: The Root of Cultural Nationalism . .18 The Rise of Nationalism in Latin America . 20 Chapter 3: Cuban Nationalism. 24 Independence and the Quest for a National Identity . 24 Toward Nationalism . .29 The Advent of the Revolution . .31 Chapter 4: The Art Music Tradition in Colonial Cuba . 33 The Colonial Period . 33 The Rise of Musical Nationalism . 43 Chapter 5: Twentieth-century Art Music in Cuba: Nationalism and Beyond. 47 Musical Indigenismo . .47 Musical Afrocubanismo . 48 Toward a New Universality . 58 The Revolution . 61 Mario Abril . .62 Chapter 6: The Essence of Cuban Popular Music . 68 iv Chapter 7: Mario Abril’s Fantasía (Introduction and Pachanga) for clarinet and piano . 74 Introduction . .74 Alejandro García Caturla’s Berceuse campesina . 74 Mario Abril’s Fantasía (Introduction and Pachanga) . .77 Formal/structural organization . .78 Harmonic construction . 80 Rhythmic aspects . .85 Melodic aspects of Motive X . .89 Other points of interest . .92 Chapter 8: Conclusion . 96 PART II: PROGRAM NOTES Recital 1: Aaron Copland, Concerto for Clarinet and String Orchestra with Harp and Piano . 99 Recital 2: Music by British Composers . 104 Gerald Finzi, Five Bagatelles . 104 Ralph Vaughan Williams, Three Vocalises . 106 Arnold Bax, Sonata . 108 Malcolm Arnold, Divertimento . .110 Joseph Horovitz, Sonatina . 112 Recital 3: Tresillo: Music for Flute, Clarinet and Piano . 115 Ernest Bloch, Concertino . 115 Alec Wilder, Suite . 117 Maurice Emmanuel, Sonata, Op. 11 . .119 Harvey Stokes, Trio Expressivo . .121 Camille Saint-Saëns, Tarantella, Op. 6 . .123 Recital 4: Folklore in Latin American Art Music for Clarinet and Piano: A Lecture Recital. 126 Introduction . .126 Cuba . 127 Mexico . .127 Brazil . ..