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La Petenera Preflamenca Como Forma Musical: Naturaleza Genérica Y Rasgos Estilísticos (1825-1910)

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La Petenera Preflamenca Como Forma Musical: Naturaleza Genérica Y Rasgos Estilísticos (1825-1910) LA PETENERA PREFLAMENCA COMO FORMA MUSICAL: NATURALEZA GENÉRICA Y RASGOS ESTILÍSTICOS (1825-1910) Trabajo de investigación realizado por José Miguel Hernández Jaramillo Programa de Doctorado El Flamenco: un acercamiento Multidisciplinar a su Estudio Departamento Didáctica de la Lengua y la Literatura y las Filologías Integradas (Universidad de Sevilla) Dirección Dr. Francisco J. Escobar Borrego Fecha Septiembre 2009 ÍNDICE INTRODUCCIÓN IX 1. Ámbito del Proyecto XII 2. Objetivos XIV 3. Justificación XV 4. Metodología de Investigación XVI 4.1. Documentación ......................................................................... XVI Documentación musical escrita .................................................................. XVI Registros sonoros ........................................................................................ XVII Referencias y noticias ................................................................................. XVII Documentación gráfica .............................................................................. XVII 4.2. Trabajo de Campo ................................................................. XVIII 4.3. Registro de información ....................................................... XVIII Catalogación de fondos en la base de datos ............................................. XIX Diseño de la Base de Datos .......................................................................... XX 4.4. Análisis ...................................................................................... XXII Análisis musical ........................................................................................... XXII 4.5. Conclusiones .......................................................................... XXIII 5. Recursos de Investigación XXIII 5.1. Recursos Online ..................................................................... XXIII 5.2. Hemeroteca .............................................................................. XXV 5.3. Instituciones y organismos visitados .................................. XXVI 6. Agradecimientos XXIX I. ESTADO DE LA CUESTIÓN Y ANTECEDENTES 1 1. Análisis crítico de las teorías existentes sobre la petenera 4 1.1. Paterna de Ribera (Cádiz) ............................................................ 4 1.2. Paterna del Río (Almería) ........................................................... 13 1.3. Concepción semítica ................................................................... 16 1.4. Procedencia americana ............................................................... 18 1.5. Raíces en la música popular española ...................................... 21 2. Trabajos de investigación sobre la petenera 21 2.1. Basados en la teoría paternera ................................................... 22 2.2. Historiográficos ........................................................................... 22 2.3. Hemerográficos............................................................................ 23 2.4. Musicológicos............................................................................... 23 2.5. Recopilatorios............................................................................... 24 2.6. Estudios mexicanos ..................................................................... 25 3. Antecedentes de la Petenera Preflamenca 27 3.1. Hipótesis sobre antecedentes lejanos ....................................... 27 A la una yo nací ................................................................................................. 29 L’Amo de Son Carabassa .................................................................................... 33 El Paño Moruno ................................................................................................. 34 Otros antecedentes .......................................................................................... 35 3.2. Referencias de la Petenera en México ....................................... 35 II. HISTORIOGRAFÍA 37 1. La Petenera Preflamenca: de la visión americana hasta su popularización en España 39 1.1. El intercambio musical entre América y España .................... 39 Músicas de ida y vuelta .................................................................................... 39 La aclimatación de las músicas americanas en la Península ..................... 40 Cádiz, puerta de entrada de las músicas americanas ................................. 41 1.2. La recepción de la Petenera en España .................................... 42 Primeras referencias de la petenera en España (1826-1845) ...................... 42 Las perteneras de Estébanez Calderón (1845) ............................................... 46 La Petenera Primitiva (1845-1879) ................................................................... 49 1.3. El año de las Peteneras: popularización de este estilo ........... 51 Las Peteneras nuevas o modernas ................................................................ 60 La expansión geográfica de la petenera ....................................................... 62 1.4. La “internacionalización” de la petenera. ................................ 64 Anna Judic, una voz francesa triunfando por peteneras ........................... 66 Peteneras en América ...................................................................................... 75 1.5. Pluralidad Discursiva ................................................................. 77 Pintura ............................................................................................................... 78 Teatro ................................................................................................................ 79 2. La figura de Francisco Amate 80 2.1. El último de los trovadores ........................................................ 81 2.2. La peteneras de Amate ............................................................... 85 Primera petenera: El Peteneros ....................................................................... 86 Segunda petenera: La Petenera ....................................................................... 87 Tercera petenera: Más Pertenera ..................................................................... 89 Cuarta petenera: La Pertenera ......................................................................... 91 Otras peteneras de Amate .............................................................................. 93 3. La transformación hacia la modalidad flamenca 94 3.1. El punto de inflexión hacia una estética flamenca.................. 95 Cambio en la forma de cantar ........................................................................ 96 Cambio de temática ....................................................................................... 101 Primeros intérpretes flamencos ................................................................... 103 3.2. Aparición de las primeras grabaciones sonoras ................... 104 III. ANÁLISIS MUSICAL 109 1. Caracterización musical 111 1.1. Corpus general de peteneras preflamencas ............................ 115 1.2. Ocasiones Performativas .......................................................... 116 Música Escénica ............................................................................................. 116 Fiestas y Reuniones Privadas ....................................................................... 117 Ferias y Romerías .......................................................................................... 118 Peteneras en el contexto de la tauromaquia .............................................. 121 1.3. Instrumentación ......................................................................... 123 El piano como instrumento principal ......................................................... 124 La Guitarra ..................................................................................................... 125 Castañuelas .................................................................................................... 127 Bandas de Música y Orquestas .................................................................... 127 Pianolas ........................................................................................................... 128 1.4. Compositores ............................................................................. 128 Isidoro Hernández ........................................................................................ 129 Federico Liñán ............................................................................................... 130 Buenaventura Íñiguez ................................................................................... 131 Felipe Pedrell ................................................................................................. 132 Modesto y Vicente Romero .......................................................................... 133 2. El Baile de la Petenera 134 3. La Petenera en la Música Académica 137 4. Análisis Paradigmático 144 4.1. Objetivos del análisis ................................................................ 146 4.2. Corpus musical del análisis ....................................................... 147 4.3. Desarrollo del Análisis Paradigmático. .................................. 149 4.4. Análisis del Primer Grupo: Partituras para Canto y Piano ............................................................................................ 153 Partituras .......................................................................................................
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