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Choral Arrangements of Nueva Canción Chilena: Exploring Socially Committed Song in the Choral Context

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Choral Arrangements of Nueva Canción Chilena: Exploring Socially Committed Song in the Choral Context Choral Arrangements of Nueva Canción Chilena: Exploring Socially Committed Song in the Choral Context by Allison Pauls A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Music Department of Music University of Alberta © Allison Pauls, 2019 Abstract The dissertation for this degree comprises this document and two public-juried recitals. These were given on June 16, 2017 at First Mennonite Church in Edmonton, Alberta and May 16, 2019 at Sargent Avenue Mennonite Church in Winnipeg, Manitoba. The vibrancy of rhythm and impassioned sense of storytelling in Latin American singing contribute a distinctive character to the world of song. However, during the latter half of the 20th century, the stories of Chilean song were perturbed by increasing indignation towards long- standing socio-economic and political injustice. Socially committed poetry and singing became the foundation for a folk-inspired popular song movement in Chile known as Nueva Canción Chilena (NCCh) that identified with the people’s struggle. Though not originally associated with choral singing, the development of a body of choral literature constituting arrangements of NCCh points to the ongoing relevance of this repertoire. Recontextualizing poems and melodies rooted in a former socio-political climate, choral arrangements of NCCh play a part in sustaining the cultural memory of a shared political past. Furthermore, they act as a means of bringing to light significant aspects of Chilean musical identity within choral literature and, in doing so, claiming a more authentically Chilean choral voice. The significance of NCCh within Chilean collective memory is explored through the perspectives of five present-day Chilean choral musicians. Their stories are paired with an analysis of four representative examples of NCCh arranged for choral ensemble to highlight specific markers of identity carried within each song. The originating context and poetic content of the songs link identity to socio-historical narrative. Musical identity is connected to traditional dance in Pablo Ulloa’s arrangement of “Según el favor del viento” by Violeta Parra, to the juxtaposition of duple and triple metric subdivision in William Child’s arrangement of “El ii Aparecido” by Víctor Jara, and to harmonic language in William Child’s arrangement of “Manifiesto” by Víctor Jara. Furthermore, diversity of choral language is explored in settings of Víctor Jara’s “Te recuerdo Amanda,” comparing choral arrangements by Eduardo Gajardo and William Child. iii Preface This thesis is an original work by Allison Pauls. The research project, of which this thesis is a part, received research ethics approval from the University of Alberta Research Ethics Board under the project name “Development of the Latin American Choral Protest Song”, No. Pro00071516. Ethics approval was granted on December 14, 2017. iv Acknowledgements Among the most valuable things I have learned throughout this journey of education is that it does, indeed, take a village! I would like to express my sincerest gratitude to all those who walked with me. None of this would be possible without you. Thank you to Dr. Leonard Ratzlaff—your mentorship as a conductor and teacher, your example of integrity in leadership when approaching an ensemble, and your dedication to musical excellence have all been invaluable in shaping my educational journey. Thank you for the unfailing encouragement you give to your students, for challenging us to move past insecurities, and, most of all, for expressing your confidence in us as developing conductors. Thank you to Dr. Mary Ingraham for encouraging my research interests in a way that always challenged me to dig deeper. Your invaluably constructive questions, comments, and guidance helped me discover the “why” behind this project. Thank you for offering sage advice, sincere feedback, and, above all, for the enthusiasm and supportiveness with which you accompanied me on this writing journey. Thank you to Dr. Laurier Fagnan for the various ways you offered encouragement and support throughout my time at the University of Alberta. Thank you especially for the insights you shared regarding the development and encouragement of resonance in the choral voice. Thank you to all members of my supervisory committee, candidacy panel, examination committee, and recital juries for investing time and energy in encouraging and challenging me at crucial events of my journey as a doctoral student. Your valuable feedback and commitment to academic and musical excellence shaped my studies at the University of Alberta. Thank you to the University of Alberta Department of Music and Faculty of Graduate Studies and Research for affording me the opportunity to explore research interests v internationally through your financial support. and to the University of Alberta Research Ethics Board which granted research ethics approval for the invaluable project interviews. Thank you to the many choristers who volunteered their time and energy to join me in the journey of exploring the richness of Latin American Choral music and performing it in contexts where it is not usually heard. Your eagerness was inspiring, your dedication uplifting, and your encouragement revitalizing. Special thanks to Matthew Pauls, Baritone Soloist extraordinaire! Thank you to the mentors, colleagues, and friends in Chile who gave freely of their time and resources to help guide me on this journey of investigation. Special thanks to Andrés Bahamondes, William Child, Paula Elgueta, Claudia Herrera, Felipe Elguéta, Moisés Mendoza, and Juan Pablo Villarroel. I am honoured to have been entrusted with your stories and look forward to continuing the dialogue about choral developments in Chile and Latin America. Thank you to my colleagues at the University of Alberta for being a supportive, dynamic, and challenging community, for sharing insights, for engaging in discussion, and for your encouragement. Very special thanks to fellow conductors Erin Craig, Ben Ewert, Graham Fast, and Stuart Sladden—never forget what to do when your choir is in need of extra support! Thank you to my family for setting me off on this musical journey in the first place. Thank you for supporting me through many highs and lows from the first insurmountable music history exam to the last conducting recital. Most of all, thank you for instilling in me the love of expressive music-making. And finally, thank you to Gugui for a million different things: for making me laugh, for distracting me with Formula 1, and for reminding me to drink my tea, to name only a few. vi Table of Contents Introduction ................................................................................................................................1 Research Question and Background ........................................................................................1 Methodology ..........................................................................................................................2 Literature Review ...................................................................................................................4 Paper Contents ...................................................................................................................... 11 I. Nueva Canción Chilena: Background and Historical Development ...................................... 14 Definition of Nueva Canción Chilena ................................................................................... 14 Socio-political context .......................................................................................................... 18 Nueva Canción Chilena and the Unidad Popular........................................................... 18 Class-stratification and socio-political unrest ................................................................ 21 Musical trends fuelling NCCh’s search for a Chilean Voice .................................................. 24 Música Típica ................................................................................................................ 25 Rock-and-Roll ............................................................................................................... 27 The NCCh Movement ........................................................................................................... 29 Foundations: ethnomusicological explorations and Violeta Parra ................................. 29 Consolidation of the NCCh Movement and Contributing Communities .......................... 32 Contributing Artists ....................................................................................................... 38 Textual Considerations .................................................................................................. 39 Musical considerations .................................................................................................. 42 Rhythmic Considerations ............................................................................................... 43 Instrumentation ............................................................................................................. 43 Summary .............................................................................................................................. 44 II. Nueva Canción Chilena: The Choral Context and Collective Memory ................................. 46 vii Collective Memory and the Chilean Context ........................................................................
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