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Música Española Del Renacimiento Entre Tradición Oral Y Transmisión Escrita: El Esquema De Folía En Procesos De Composición E Improvisación

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Música Española Del Renacimiento Entre Tradición Oral Y Transmisión Escrita: El Esquema De Folía En Procesos De Composición E Improvisación MÚSICA ESPAÑOLA DEL RENACIMIENTO ENTRE TRADICIÓN ORAL Y TRANSMISIÓN ESCRITA: EL ESQUEMA DE FOLÍA EN PROCESOS DE COMPOSICIÓN E IMPROVISACIÓN Tesis Doctoral presentada para la obtención del Título de Doctor Mención “Doctorado Europeo” GIUSEPPE FIORENTINO Realizada bajo la dirección del Prof. Dr. EMILIO ROS-FÁBREGAS UNIVERSIDAD DE GRANADA FACULTAD DE FILOSOFÍA Y LETRAS DEPARTAMENTO DE HISTORIA DEL ARTE Y MÚSICA PROGRAMA DE DOCTORADO EN HISTORIA Y CIENCIAS DE LA MÚSICA GRANADA, 2009 Editor: Editorial de la Universidad de Granada Autor: Giuseppe Fiorentino D.L.: GR. 1797-2009 ISBN: 978-84-692-1330-8 MÚSICA ESPAÑOLA DEL RENACIMIENTO ENTRE TRADICIÓN ORAL Y TRANSMISIÓN ESCRITA: EL ESQUEMA DE FOLÍA EN PROCESOS DE COMPOSICIÓN E IMPROVISACIÓN Tesis Doctoral presentada para la obtención del Título de Doctor Mención “Doctorado Europeo” GIUSEPPE FIORENTINO Realizada bajo la dirección del Prof. Dr. EMILIO ROS-FÁBREGAS UNIVERSIDAD DE GRANADA FACULTAD DE FILOSOFÍA Y LETRAS DEPARTAMENTO DE HISTORIA DEL ARTE Y MÚSICA PROGRAMA DE DOCTORADO EN HISTORIA Y CIENCIAS DE LA MÚSICA GRANADA, 2009 Ilustración de la portada: Tomás de Santa María, Libro llamado arte de tañer fantasía (Valladolid: Francisco Fernández de Córdoba, 1565), libro II, fol. 48r. Este trabajo está dedicado a todos los “hombres y mugeres que no saben de musica”, y a su música. La musica di cui facciamo la storia, la tradizione scritta della musica, può essere paragonata alla parte visibile di un iceberg, la maggior parte del quale resta invece sommersa ed invisibile. La parte che emerge merita certamente la nostra attenzione, perché è tutto quello che ci resta del passato e perché ne rappresenta la parte più coscientemente elaborata; ma le nostre valutazioni devono pure tenere sempre presenti i sette ottavi dell’iceberg che restano sommersi, la musica della tradizione non scritta. Nino Pirrotta, Musica tra medioevo e rinascimento (Torino: Einaudi, 1984), p. 177. ÍNDICE GENERAL Agradecimientos................................................................................................................. xix INTRODUCCIÓN............................................................................................................. 1 1. Objetivos...................................................................................................................... 1 2. Estado de la cuestión.................................................................................................... 2 2.1. La folía................................................................................................................... 3 2.1.1. Origen y significados del término “folía” .................................................. 4 2.1.1.1. La folía en las fuentes literarias...................................................... 4 2.1.1.2. La folía en las fuentes musicales..................................................... 8 2.1.2. Los esquemas armónico-melódicos de folía............................................... 10 2.1.3. El esquema armónico de folía: su origen y difusión................................... 14 2.1.4. Los estudios de Richard Hudson sobre la folía........................................... 18 2.1.4.1. Esquema armónico y melódico....................................................... 18 2.1.4.2. Folía temprana y folía tardía........................................................... 21 2.1.4.3. Folía, fedele y falsobordone............................................................ 23 2.1.5. Otras aportaciones recientes sobre la folía.................................................. 25 2.1.5.1. Juan José Rey.................................................................................. 25 2.1.5.2. John Griffiths.................................................................................. 27 2.1.5.3. Maurice Esses................................................................................. 28 2.2. Dimensión acordal de la música del Renacimiento: un marco teórico para el estudio del esquema de folía................................................................................ 29 2.2.1. Lectura acordal y lectura polifónica del repertorio renacentista................... 29 2.2.2. El falsobordone y el nacimiento del lenguaje armónico renacentista.......... 33 2.2.2.1. Fauxbourdon y faburden.................................................................. 33 2.2.2.2. El falsobordone................................................................................. 36 2.2.2.2.1. La teoría de Murray Bradshaw......................................... 37 2.2.2.2.2. La teoría de Ernest Trumble............................................. 39 2.2.2.2.3. La teoría de Ignazio Macchiarella.................................... 42 2.2.3. Lenguaje acordal en la música instrumental renacentista............................. 44 2.2.3.1. Los esquemas armónico-melódicos y la terminología renacentista.. 47 2.2.3.2. Concepción vertical del proceso compositivo en el tratado Arte de tañer fantasía de Tomás de Santa María (1565).......................... 49 2.3. La cuestión de lo popular en el repertorio poético-musical del Renacimiento español.............................................................................................................. 50 2.3.1. Lo popular en la música del Renacimiento................................................... 51 2.3.2. Tradición popular versus tradición culta...................................................... 54 2.3.3. Difusión del estilo literario popularizante en la España del Renacimiento.. 57 vii 3. Metodología................................................................................................................. 58 3.1. Contenidos y estructura del trabajo..................................................................... 58 3.2. Terminología utilizada........................................................................................... 59 3.3. El estudio literario.................................................................................................. 60 3.4. El análisis musical................................................................................................. 61 PARTE I. EL ESQUEMA DE FOLÍA EN EL REPERTORIO VOCAL..................... 65 Capítulo I. El esquema de folía en el Cancionero Musical de Palacio.......................... 67 I.1 El Cancionero Musical de Palacio.............................................................................. 67 I.2. Selección y análisis de las obras que más claramente siguen el esquema de folía... 68 I.2.1. Anónimo, “Muchos van de amor heridos” (CMP, N° 92, fol. 59r).................. 71 I.2.2. Anónimo, “Meu naranjedo no ten fruta” (CMP, N° 310, fol. 217r)................. 74 I.2.3. Anónimo, “No puedo apartarme” (CMP, N° 361, fol. 245v)........................... 77 I.2.4. Juan del Encina, “¡Si abrá en este baldrés!” y “Pues que ya nunca nos veis” (CMP, N° 179, fols. 108v-109r y N° 271, fol. 195v).................................... 80 I.2.5. Anónimo, “Rodrigo Martines” (CMP, N° 12, fols. [7v]-8r)............................ 85 I.3. Las fórmulas de folía α-β y α-α................................................................................. 89 I.3.1. Características generales de las fórmulas......................................................... 89 I.3.2. Relación entre acentos poéticos y forma musical en las fórmulas α-β y α-α... 93 I.4. Otras piezas relacionadas con las fórmulas de folía en el CMP.............................. 96 I.4.1. Formas musicales con estribillo...................................................................... 97 I.4.1.1. Juan del Encina, “Oy comamos y bebamos” (CMP, N° 174, fols. 105v-106r)......................................................................................... 98 I.4.1.2. Anónimo, “No quiero ser monja, no” (CMP, N° 9, fol. 6r)................. 102 I.4.1.3. Encina, “Los sospiros no sosiegan” (CMP, N° 163, fols. 100v-101r). 104 I.4.1.4. Anónimo, “Norabuena vengas, Menga” (CMP, N° 273, fol. 196v)..... 106 I.4.1.5. Fernandes, “De ser mal casada” (CMP, N° 197, fol. 119r).................. 107 I.4.1.6. Anónimo, “Calabaça, no sé, buen amor” (CMP, N° 251, fols. 145v- 146r)................................................................................................... 108 I.4.1.7. Escobar, “Nuestr’ama, Minguillo” (CMP, N° 229, fol. 134r).............. 110 I.4.1.8. Anónimo, “Nuestro bien y gran consuelo” (CMP, N° 14, fol. 10r)..... 112 I.4.1.9. Badajós, “Mi mal por bien es tenido” (CMP, N° 51, fol. 38r)............ 113 I.4.1.10. Alonso, “Tir’allá que no quiero” (CMP, N° 6, fol. 4v)...................... 115 I.4.2. Formas musicales sin estribillo........................................................................ 117 I.4.2.1. Juan del Encina, “Señora de hermosura” (CMP, N° 81, fols. 54v-55r) 117 I.4.2.2. Anónimo, “De la vida deste mundo” (CMP, N° 121, fols. 72v-79r)... 123 I.4.2.3. Anónimo, “Por mayo era por mayo” (CMP, N° 85, fols. 56v-57r)...... 124 I.4.2.4. Lope Martines, “Cavalleros de Alcalá” (CMP, N° 100, fols. 62v-63r). 126 I.4.2.5. Anónimo, “Alburquerque, Alburquerque” (N° 106, fol. 65v)............. 127 I.4.2.6. Encina, “Una sañosa porfía” (CMP, N° 126, fols. 74v-75r)................ 127 viii I.4.2.7. A° de Córdova, “Juisio fuerte será dado” (CMP, N° 374, fol. 259r)... 129 I.5. Otras piezas relacionadas con el esquema armónico de folía en el CMP................ 130 I.6. Resumen.................................................................................................................... 131 Capítulo II.
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