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The Marimba in Mexico and Guatemala

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The Marimba in Mexico and Guatemala The Marimba in Mexico and Guatemala Its Musical Development with Special Emphasis on the Four Mallets Technique and the Improvisation Dissertation Universität für Musik und Darstellende Kunst Graz Institute für Ethnomusikologie José Israel Moreno Vázquez Datum der Abgabe: July 2016 1 2 Abstract The marimba takes part of a great diversity of the Latin-American music, in Guatemala and the southeast of Mexico it is a symbol of identity of the popular culture. Throughout its de- velopment many marimba players, compositors, and marimba constructors have been distin- guished, offering us an extended repertoire of diverse musical styles that through the years has endured by the oral transmission and the sustained teaching in the familiar tradition. The authors that have written about the marimba in this countries, in the majority, they have ad- dressed aspects of the origin of the instrument, and its history mainly focused on the morpho- logical transformations. Very few have documented the musical development of the marimba with its contributions and influences. In this work it will be presented for the first time the matter of technical development of the performance on the marimba with four mallets, and the improvisation improvement, one of the most important elements for the comprehension of the development and evolution of the marimba. The musical development of the marimba is studied more in detail considering its historical processes to get to understand the reasons of the high technical and musical level of the marimba groups, its musicians, and how the im- provisation reaches the importance that has gotten in the present. Through an analysis of the historical process and the recording of the XX century new elements are offered to compre- hend the contributions of the marimba from a musical perspective along with the historical and social context where they were developed. The performance of the four mallets on the marimba are studied and analyzed, as well as its technical and musical maturity, and the con- tributions of the main exponents. A classification of the different types of improvisation with their historical reference are suggested, and it generates the basis for the study of the improvi- sation in the traditional marimba with more certainty, centered in the monitoring of the con- tribution of new techniques of performance, transcriptions, adaptations, and composers that continuously keep transforming the marimba music. 3 Abstract La marimba forma parte de la gran diversidad de la música de Latinoamérica, en Guatemala y el sureste de México es un símbolo de identidad de la cultura popular, a lo largo de su desa- rrollo se han distinguido gran cantidad de intérpretes, compositores y constructores, ofrecién- donos un vasto repertorio en diversos estilos musicales que, a través de los años, han persisti- do mediante la transmisión oral y la enseñanza sustentada en la tradición familiar. Los autores que han escrito sobre la marimba en estos países, en su mayoría han abordado aspectos del origen del instrumento y su historia enfocada principalmente a las transformaciones morfoló- gicas, muy pocos han documentado el desarrollo musical de la marimba con sus aportaciones e influencias. Con este trabajo se abordada por primera vez el tema del desarrollo técnico de la ejecución de la marimba a cuatro baquetas y la improvisación, uno de los elementos más importantes para la comprensión del desarrollo y evolución en la marimba. Se estudia de ma- nera más detallada el desarrollo musical de la marimba considerando sus procesos históricos para llegar a entender las razones del alto nivel técnico y musical de las agrupaciones marim- bísticas, de sus ejecutantes y de cómo la improvisación alcanza la importancia que tiene en la actualidad. A través de un análisis de los procesos históricos y de las grabaciones del siglo XX, se ofrecen nuevos elementos para comprender las aportaciones de la marimba desde una perspectiva musical aunada a el contexto histórico y social donde se desenvuelven. Se analiza y estudia la ejecución de las cuatro baquetas en la marimba, su desarrollo técnico y musical, así como las aportaciones de sus principales exponentes. Se propone una Clasificación de los diferentes tipos de improvisación con sus referentes históricos y genera las bases para el estu- dio de la improvisación en la marimba tradicional con mayor certeza, centrado en el segui- miento a la aportación de nuevas técnicas de ejecución, a las transcripciones, adaptaciones y composiciones que continuamente siguen transformándose. 4 Abstract Die Marimba ist Teil der musikalischen Vielfalt in Lateinamerika. In Guatemala und Südost- mexico ist sie ein Symbol für die Identität der Volkskultur. Ihre Entwicklung ist durch eine große Anzahl an Interpreten, Komponisten und Herstellern, die uns ein umfangreiches Reper- toire an Musikstilen bieten, beeinflusst. Dieses Repertoire hat im Laufe der Jahre fortgedauert und dank mündlicher Weitergabe und Unterricht hat sich verfestigt. Die meisten Autoren, die in diesen Ländern über die Marimba geschrieben haben, haben die Entstehung des Instru- ments beschrieben und sich auf ihre Geschichte und vor allem auf die morphologische Trans- formationen fokussiert. Nur sehr wenige haben die musikalische Entwicklung der Marimba, ihre Einflüsse und Beiträge dokumentiert. Die vorliegende Arbeit beschäftigt sich zum ersten Mal mit der technischen Entwicklung der Ausführung der Marimba auf vier Schlägel und mit ihrer Improvisation. Dies ist eines der wesentlichsten Elemente für das Verständnis und Ent- wicklung der Marimba. Es wird die musikalische Entwicklung der Marimba im Detail unter- sucht, indem die historischen Prozesse berücksichtigt werden, um ein besseres Verständnis über die Grunde des hohen technischen und musikalischen Niveaus der Marimba-Gruppen und deren ausübenden Künstler, sowie für die Improvisation und ihre aktuelle Wichtigkeit zu bekommen. Die Untersuchung der historischen Prozesse und der Tonaufnahmen des 20. Jahr- hunderts zeigen neue Elemente, um die Beiträge der Marimba von einer musikalischen Per- spektive verstehen zu können, die in Verbindung mit dem historischen und sozialen Kontext, in welchem die Marimba sich entwickeln, steht. Die Benutzung der vier Schlägel, ihre techni- sche und musikalische Entwicklung, so wie ihre Hauptexponenten werden analysiert und un- tersucht. Eine Klassifizierung von unterschiedlichen Improvisationstypen mit ihren histori- schen Bezugspunkten wird vorgeschlagen. Die Arbeit erzeugt auch die Grundlagen für eine genauere Untersuchung der Improvisation in der traditionellen Marimba, dabei steht die Überwachung der neue Ausführungstechniken, Transkriptionen, Adaptation und Kompositio- nen im Mittelpunkt, da diese sich kontinuierlich verwandeln. 5 Acknowledgements Throughout this process and to finalize this work I received the assistance and support of many people to whom I wish to express my gratitude. First of all, my counselor Professor Helmut Brenner, for his trust and help and for accompanying me all this time; he not only provided me with his most valuable advice but mostly for his friendship, his moral support and for giving me the opportunity to grow professionally. I also owe my thanks to Professor Gerd Grupe, Director of the Institute of Ethnomusicology at the KUG and to Professor Thom- as Hochradner, at the Universitat Mozarteum Salzburg, for their time and support for the as- sessment of this work. I am deeply grateful to the Universidad de Ciencias y Artes de Chiapas for proving me aca- demic freedom, financial aid and for carrying out the necessary administrative procedures that made it possible for me to study a doctorate at the Institute of Ethnomusicology at the Kun- stuiversität Graz. Most of all I want to thank my family for always being there for me; to my parents, my broth- ers and sisters, my parents in-law and of course Alejandrina, my wife, for her patience and love and for having my back at all times. I also want to thank my children, Itzam Alejandrino and Dario Itzae who always inspire me to do better. I am indebted to Miguel Pavia y Calvo for his input while writing this thesis, for the long dis- cussions and encouragement that were pivotal during this process. I owe my gratitude to Blanca E. Navas for her excellent support with the English Translation; to Wendy Sierra and Juan Bermudez for their assistance. I would also like to thanks to the musicians that gave me advice, help and offered their opin- ions on the transcriptions: Amir Moreno, Alexander Cruz, Luis Rojas, Roberto Palomeque, Rodrigo Santiago, Abigail Pulido, Francisco Bernal Sanchez, Leonardo Garcia, Miyuki Kojima and Xicotencatl Corzo. I want to acknowledge the chronicler Fernán Pavia Farrera, for allowing me access to his private archives, records and photographs. To journalist Raul Mendoza Vera, who allowed me to review his recordings and interviews of many important 6 musicians in Chiapas. To Lester Godinez and Julio Tarracena Bethancourt for sharing with me their photographic archive. Thank you as well to the UNICACH Historic Archives. I want to give a special thanks to the persons I interviewed for this project, who generously shared part of their life experiences with me and for the invaluable information they provided to rebuild the epochs, techniques, feelings and emotions that are the soul of this work. 7 CONTENTS INTRODUCTION .................................................................................................................... 11 1. Mexico and Guatemala.
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