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De Ziel Van De Tango Wat Maakt Een Muziekstuk Tot Een Tango?

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De Ziel Van De Tango Wat Maakt Een Muziekstuk Tot Een Tango? Anne Claessens Master Kunstwetenschappen Universiteit Gent Academiejaaar 2008-2009 Faculteit Letteren en Wijsbegeerte Vakgroep Kunst-, muziek- en theaterwetenschappen De Ziel van de Tango Wat maakt een muziekstuk tot een tango? Masterproef Promotor: Dr. Dirk Moelants Inhoudstafel Voorwoord .............................................................................................................................................. 3 Inleiding ................................................................................................................................................... 4 1. De geschiedenis van de tango ............................................................................................................. 6 1.1 De geboorte van de tango .............................................................................................................. 6 1.1.1 Buenos Aires .......................................................................................................................... 6 1.1.2 De oorsprong van de tango .................................................................................................... 8 1.1.3 De Bandoneon ...................................................................................................................... 12 1.2 Tangolyriek .................................................................................................................................. 14 1.2.1 Het Lunfardo ........................................................................................................................ 14 1.2.2 De Guardia Vieja ................................................................................................................. 14 1.2.3 Carlos Gardel en het tangolied ............................................................................................. 15 1.3 Tango in Europa .......................................................................................................................... 18 1.4 Muzikale evolutie ........................................................................................................................ 19 1.4.1 Het Orquesta Típica ............................................................................................................. 19 1.4.2 De Guardia Nueva ................................................................................................................ 20 1.4.3 Crisis en wederopstanding ................................................................................................... 22 1.4.4 Aníbal Troilo en de gouden tijd van de tango ...................................................................... 23 1.5 Astor Piazzolla ............................................................................................................................. 24 1.6 Het post-Piazzolla tijdperk ........................................................................................................... 26 1.6.1 Na de ‘gouden tijd van de tango’ ......................................................................................... 26 1.6.2 De tweede tangogolf in Europa ............................................................................................ 27 1.6.3 Tango in Argentinië vandaag ............................................................................................... 28 2. Onderzoek ......................................................................................................................................... 29 2.1. De tango en de geschiedenis van Argentinië .............................................................................. 29 2.2 Tango Renovacion ....................................................................................................................... 31 2.3 Onderzoeksopzet .......................................................................................................................... 34 2.3.1 Onderzoeksvraag .................................................................................................................. 34 2.3.2 Onderzoeksidee .................................................................................................................... 34 2.3.3 Vragenlijst ............................................................................................................................ 35 2.3.4 Fragmenten .......................................................................................................................... 35 2.3.5 Participanten ........................................................................................................................ 36 2.4 Onderzoeksmethode..................................................................................................................... 37 2.4.1 Verzamelen van de data ....................................................................................................... 38 2.4.2 Verwerking van de data ....................................................................................................... 38 3. Resultaten .......................................................................................................................................... 39 3.1. Vragenlijst................................................................................................................................... 39 3.2 Fragmenten .................................................................................................................................. 41 4. Conclusies .......................................................................................................................................... 66 5. Besluit ................................................................................................................................................ 71 Bibliografie ............................................................................................................................................ 73 2 Voorwoord Dit onderzoek was nooit tot stand kunnen komen zonder de medewerking van 25 enthousiaste participanten. In de eerste plaats wil ik dan ook iedereen die zich hiervoor geëngageerd heeft hartelijk bedanken. Daarnaast bedank ik mijn promotor voor de begeleiding en mijn moeder voor het nalezen. Bij deze masterproef kwamen er veel computertechnieken aan te pas waar ik niet altijd even vlot mee kon werken. Daarom wil ik ook Lukas bedanken om mij te helpen bij technische problemen en Jeroen om mij wegwijs te maken in SPSS. 3 Inleiding Toen ik vorig jaar een bachelorproef moest schrijven wilde ik dat graag over de bekende Argentijnse tangomuzikant Astor Piazzolla doen. Ik wist toen nog niets over tango en om mijn proef een beetje te kaderen besloot ik mij eerst de verdiepen in de geschiedenis ervan. Hierbij stootte ik op een fascinerend verhaal. Ik ontdekte tot mijn verbazing dat Piazzolla in zijn thuisland helemaal niet door iedereen even geliefd is, terwijl hij in Europa voor velen geldt als dé referentie voor tangomuziek. In Argentinië wordt de tango gezien als een nationaal symbool, waarbij traditie van groot belang is en waarmee je niet zomaar kan gaan experimenteren. Voor de meesten onder ons is tango gewoon een muziek - en dansstijl, terwijl het voor de Argentijnen al generaties lang een manier is om hun diepste gevoelens en verlangens uit te drukken. Door de geschiedenis van Argentinië en die van de tango naast elkaar te leggen kwam ik tot de conclusie dat deze twee verhalen erg gelijklopen. Een breuk in de geschiedenis van Argentinië leidde meestal ook tot een breuk in de geschiedenis van de tango, net omdat de tango zo diep in de Argentijnse samenleving geworteld is. Het eerste deel van deze masterproef is dan ook een literatuuronderzoek naar de geschiedenis van de tango vanaf de stichting van Argentinië tot vandaag. De basis hiervoor zijn drie boeken over tangogeschiedenis die ik gelezen heb : ‘Tango’ van Arne Birkenstock en Helena Rüegg, ‘De geschiedenis van de tango’ van Ana Sebastían en Luis Labraña en ‘Tango; muziek, dans en lyriek’ van Horacio Ferrer. Daarnaast wordt er ook verwezen naar enkele artikels. De informatie in het deel over Piazzolla komt uit de biografie van de muzikant, geschreven door Maria Susana Azzi en Simon Collier. De geschiedenis van de tango is complex en vaak ook controversieel, en het viel mij al snel op dat de auteurs het niet altijd met elkaar eens waren over bepaalde aspecten. De tango heeft trouwens zowel een geschiedenis als een mythologie; een geromantiseerde versie van zijn ontstaan. Vandaag heeft de tango zich verspreid over de hele wereld. Hierbij is het onvermijdelijk dat hij vermengd wordt met andere muziekgenres en dat elementen die typisch zijn voor de tango binnensluipen in allerlei soorten composities. 4 Maar als zelfs Piazzolla voor veel Argentijnen te ver ging in zijn interpretatie van de tango, wat moeten we dan denken van de vele Argentijnse artiesten die naar eigen zeggen tango maken, terwijl hun muziek zich veel verder van de traditie verwijdert dan Piazzolla ooit heeft durven doen? En wat met alle tangomuziek die niet in Argentinië wordt gemaakt? Na het lezen van de geschiedenis van de tango zou een eerste reactie kunnen zijn: de tango is ontstaan uit de versmelting van verschillende culturen, het toevoegen van nieuwe elementen uit andere landen en regio’s is enkel een verdere evolutie. Dat is natuurlijk een logische redenering, maar dan is het in elk geval een evolutie waartegen veel tangoliefhebbers zullen protesteren. Ik vond het moeilijk om hier voor
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