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Alberto Ginastera's Use of Argentine Folk Elements in the Sonata for Guitar, OP

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Alberto Ginastera's Use of Argentine Folk Elements in the Sonata for Guitar, OP Alberto Ginastera's use of Argentine folk elements in the Sonata For Guitar, OP. 47 Item Type text; Thesis-Reproduction (electronic) Authors Basinski, Mark Grover, 1956- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 02/10/2021 23:37:28 Link to Item http://hdl.handle.net/10150/558228 ALBERTO GINASTERA'S USE OF ARGENTINE FOLK ELEMENTS IN THE SONATA FOR GUITAR, OP. 47 by Mark Grover Basinski Copyright © Mark Basinski 1994 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 1994 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the document prepared by Mark Grover Basinski_________________ entitled ALBERTO GINASTERA'S USE OF ARGENTINE FOLK ELEMENTS_________ IN THE SONATA FOR GUITAR, OP. 47___________________________ and recommend that it be accepted as fulfilling the requirements for the Degree of Doctor of Musical Arts 11/15/93 Thomas Patterson_ / Date 11/15/93 Grays*, ^ Date / j L a /\ a - 11/15/93 Nohema Fernandez \ Date Date Date Final approval and acceptance of this document is contingent upon the candidate's submission of the final copy of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement. 11/15/93 Director Thomas Patterson Date 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of the requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under the rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgment of the source is made. Requests for permission for extended quotations from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: 4 ACKNOWLEDGMENTS The author wishes to offer thanks to Abel Carlevaro, Eduardo Fernandez, and Walter Ujaldon for their assistance in the initial stages of the research which ultimately resulted in the present study. Discussions with these artists brought numerous specific folk elements used in the Ginastera Sonata for Guitar to the attention of the author. Their comments were very important in providing direction for subsequent investigation. Further special thanks are due to Roberto Aussel and Nestor Ausqui for their comments and suggestions in the late stages of this research. Their intimate and direct knowledge of Argentine folk music was an invaluable resource for confirmation and collation of information gathered from published sources. This research was supported in part by a Fulbright Scholarship from the Institute of International Education and the United States Information Agency. This grant made possible initial research in Uruguay and Argentina, without which the entire project might not ever have begun. Finally, the author wishes to extend thanks to each of the members of his graduate committee, Thomas Patterson, Grayson Hirst, Nohema Fernandez, John Brobeck, and James R. Anthony, for their encouragement and support. 5 TABLE OF CONTENTS LIST OF ILLUSTRATIONS..............................................................................................6 ABSTRACT..................................... .................................................,...............................8 INTRODUCTION .................................. ......................................................;...............9 GENERAL COMMENTS ON ARGENTINE FOLK MUSIC...................................13 CRIOLLO FOLK GUITAR ELEMENTS.......................................................................15 Criollo Folk Guitar Style......................................................................................15 Ginastera's Use of Criollo Folk Guitar Elements............. ...............:.............20 ANDINO ELEMENTS............................................... ............................................... 28 Andino Music and the Cantos de Caja.............. ............................................... 28 Ginastera's Use of Andino Folk Elements........................................................ 34 CRIOLLO FOLK DANCE ELEMENTS................................. 39 The Malambo and other Criollo Folk Dances................... ...............................39 Ginastera's Use of the Malambo and other Criollo Folk Dances ...................44 SUMMARY...................... 55 APPENDIX A: PERMISSION FOR USE OF COPYRIGHTED MATERIAL.........57 REFERENCES 58 6 LIST OF ILLUSTRATIONS FIGURE 1. Guitar rasgueados and tamboras ................................................................. 16 FIGURE 2, Gato guitar accom panim ent.................................... 19 FIGURE 3. Ginastera Malambo for Solo Piano, mm. 1-3 ......... 21 FIGURE 4. Ginastera Sonata for Guitar, Esordio, opening.........................................21 FIGURE 5. Ginastera, Sonata for Guitar, Scherzo, mm. 1-2 ............ 23 FIGURE 6. Ginastera, Sonata for Guitar, Scherzo, mm. 29-30,35-36 ........................ 24 FIGURE 7. Ginastera, Sonata for Guitar, Scherzo, coda ............ 25 FIGURE 8. Ginastera Sonata for Guitar, Canto, o p en in g ........................................... 25 FIGURE 9. Ginastera Sonata for Guitar, Canto, B section.......................................... 26 FIGURE 10. Ginastera Sonata for Guitar, Finale, mm. 1-10....................................... 27 FIGURE 11. Baguala...... .................................. .29 FIGURE 12. Ternary Rhythmic patterns.................................................................... 30 FIGURE 13a. Vidala......... .............................................................................................. 31 FIGURE 13b. Vidala ......................................................................................... 31 FIGURE 14. Slow vidala ........................................................ 32 FIGURE 15. Vidala..........................................................................................................33 FIGURE 16. Ginastera Sonata for Guitar, Esordio, B section ......................................34 FIGURE 17. Ginastera Sonata for Guitar, Canto, B section ................ 37 FIGURE 18. Ginastera Sonata for Guitar, Canto, end of B section............................ 37 FIGURE 19. Malambo guitar accompaniment............................................................41 FIGURE 20. Solo guitar chacarera ............................................................................... 42 7 LIST OF ILLUSTRATIONS - Continued FIGURE 21. Chacarera guitar accompaniment.......................................................... 42 FIGURE 22. Milonga guitar accompaniment..................... .......................................43 FIGURE 23. Ginastera, Estancia, Danza Final, mm. 116-19 ..................................... 44 FIGURE 24. Ginastera, Suite de Danzas Criollas, V movement, mm. 16-25............45 FIGURE 25. Ginastera, String Quartet No. 1, IV movement, mm. 47-50 ......... 46 FIGURE 26. Ginastera, Piano Concerto No. 1, IV movement, mm. 14-17 ............... 46 FIGURE 27. Ginastera Sonata for Guitar, Finale, mm. 1-10....................................... 47 FIGURE 28. Ginastera Sonata for Guitar, Finale, mm. 20-23 .................... 48 FIGURE 29a. Ginastera Sonata for Guitar, Finale, mm. 27-28 ................................... 49 FIGURE 29b. Ginastera Sonata for Guitar, Finale, mm. 84-85 ............... 49 FIGURE 29c. Ginastera Sonata for Guitar, Finale, mm. 97-98 ................................. ..49 FIGURE 29d. Ginastera Sonata for Guitar, Finale, mm. 109-10................................. 49 FIGURE 30. Ginastera Sonata for Guitar, Finale, mm. 37-38 ..................................... 50 FIGURE 31. Ginastera Sonata for Guitar, Finale, mm. 45-47 ......................................50 FIGURE 32. Ginastera Sonata for Guitar, Finale, mm. 73-75 ........ 51 FIGURE 33. Ginastera Sonata for Guitar, Finale, mm. 123-25 .................................. 52 FIGURE 34. Ginastera Sonata for Guitar, Finale, mm. 90-91............................. .— 52 FIGURE 35. Ginastera Sonata for Guitar, Finale, mm. 77-78 ....... 53 FIGURE 36. Ginastera Sonata for Guitar, Finale, mm. 68-71..................................... 54 © 8 ABSTRACT Alberto Ginastera's Sonata for Guitar, Op. 47, is one of the most important works composed in the twentieth century for the instrument. This study examines elements of Argentine folk music, and discusses the ways in which Ginastera made use of these folk elements in the construction of the Sonata for Guitar. • Three overall categories of folk elements are present in the Sonata for Guitar. Characteristics of the criollo folk guitar tradition and of the guitar itself play important roles in the construction of the Sonata for Guitar. Elements of the andino cantos de caja, the baguala and the vidala, are used in the development of important thematic material as well. Finally, the malambo and other criollo folk dances are utilized to generate the rhythms
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