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Universidad Nacional Autónoma De México UNIVERSIDAD NACIONALAUTÓNOMA DEMÉXICO ESCUELA NACIONAL DEMÚSICA “EL CANTO A TRAVÉS DE LOS GÉNEROS” NOTAS AL PROGRAMA QUE PARA OPTAR POR EL TÍTULO DE: LICENCIADO EN CANTO P R E S E N T A PALOMA YURIDIA LUCAS LANDGRAVE ASESOR: DR. FELIPE RAMIREZ GIL Fecha: UNAM – Dirección General de Bibliotecas Tesis Digitales Restricciones de uso DERECHOS RESERVADOS © PROHIBIDA SU REPRODUCCIÓN TOTAL O PARCIAL Todo el material contenido en esta tesis esta protegido por la Ley Federal del Derecho de Autor (LFDA) de los Estados Unidos Mexicanos (México). El uso de imágenes, fragmentos de videos, y demás material que sea objeto de protección de los derechos de autor, será exclusivamente para fines educativos e informativos y deberá citar la fuente donde la obtuvo mencionando el autor o autores. Cualquier uso distinto como el lucro, reproducción, edición o modificación, será perseguido y sancionado por el respectivo titular de los Derechos de Autor. Página INTRODUCCION 5 LIEDER 1 “Aufträge” Robert Schumann 1.1 Contexto Histórico del Compositor (1810—1856) 10 1.2 AspectosBiográficosdel Compositor 19 1.3 Análisisde la Obra 26 1.4 SugerenciasTécnicase Interpretativas 28 2 “Liebst du um Shöneheit” Clara Schumann 2.1 Contexto Histórico del Compositor (1819—1896) 29 2.2 AspectosBiográficosdel Compositor 35 2.3 Análisisde la Obra 40 2.4 SugerenciasTécnicase Interpretativas 41 3 “Der Alpenjäger” FranzSchubert 3.1 Contexto Histórico del Compositor (1797—1828) 42 3.2 AspectosBiográficosdel Compositor 43 3.3 Análisisde la Obra 50 3.4 SugerenciasTécnicase Interpretativas 51 4 “An die Untergehende Sonne” 4.1 Análisisde la Obra 52 4.2 SugerenciasTécnicase Interpretativas 53 MELODIE 5 “Au Cimetiere” Gabriel Faurè 5.1 Contexto Histórico del Compositor (1845—1924) 54 5.2 AspectosBiográficosdel Compositor 57 5.3 Análisisde la Obra 60 5.4 SugerenciasTécnicase Interpretativas 61 1 6 “Rêve d’ Amour” 6.1 Análisisde la Obra 62 6.2 SugerenciasTécnicase Interpretativas 63 7 “Au bord de l’eau” 7.1 Análisisde la Obra 64 7.2 SugerenciasTécnicase Interpretativas 65 8 “Aurore” 8.1 Análisisde la Obra 66 8.2 SugerenciasTécnicase Interpretativas 67 MUSICA MEXICANA 9 “Madrigal I” Alfonso de Elías 9.1 Contexto Histórico del Compositor (1902—1984) 68 9.2 AspectosBiográficosdel Compositor 72 9.3 Análisisde la Obra 80 9.4 SugerenciasTécnicase Interpretativas 81 10 “Madrigal II” 10.1 Análisisde la Obra 82 10.2 SugerenciasTécnicase Interpretativas 83 11 “Exhalación” 11.1 Análisisde la Obra 84 11.2 SugerenciasTécnicase Interpretativas 85 ARIAS DE ORATORIO 12 “Blute Nür” J. S. Bach (Aria de “La Pasión según San Mateo”) (1685—1750) 12.1 Contexto Histórico del Compositor 86 12.2 AspectosBiográficosdel Compositor 95 12.3 Análisisde la Obra 111 2 12.4 SugerenciasTécnicase Interpretativas 112 13 “Bereite dir Jesu, noch ich so die Bahn” (Aria de la Cantata no. 147 “Hertzund Mund und Tat und Lieben” 13.1 Análisisde la Obra 113 13.2 SugerenciasTécnicase Interpretativas 114 14 “I Know that my Redimer Lived” Georg Friedrich (Aria de “El Mesias”) Häendel 14.1 Contexto Histórico del Compositor (1685—1759) 115 14.2 AspectosBiográficosdel Compositor 116 14.3 Análisisde la Obra 118 14.4 SugerenciasTécnicase Interpretativas 119 15 “Rechoise greatling Oh Daughter of Zion!” (Aria de “El Mesias” 15.1 Análisisde la Obra 120 15.2 SugerenciasTécnicase Interpretativas 121 ARIAS DE OPERA 16 “Deh vieni, non tardar” W. A. Mozart (Aria de Susana de “las Bodas de Fígaro”) (1756—1791) 16.1 Contexto Histórico del Compositor 122 16.2 AspectosBiográficosdel Compositor 129 16.3 Análisisde la Obra 136 16.4 SugerenciasTécnicase Interpretativas 137 17 “Kommt ein Schlanker Bursch gegangen” Carl Maria von Weber (Aria de Ännchen de “El Cazador Furtivo”. (1786—1826) 17.1 Contexto Histórico del Compositor 138 17.2 AspectosBiográficosdel Compositor 139 3 17.3 Análisisde la Obra 142 17.4 SugerenciasTécnicase Interpretativas 143 18 “Quando m’envo” G. Puccini (Vals/Aria de Musetta de “La Bohemme”) (1858—1924) 18.1 Contexto Histórico del Compositor 144 18.2 AspectosBiográficosdel Compositor 154 18.3 Análisisde la Obra 159 18.4 SugerenciasTécnicase Interpretativas 160 19 “Ah! Je veux vivre” CharlesGounod (“Aria de Julieta de “Romeo yJulieta”) (1818—1893) 19.1 Contexto Histórico del Compositor 161 19.2 AspectosBiográficosdel Compositor 162 19.3 Análisisde la Obra 164 19.4 SugerenciasTécnicase Interpretativas 165 CONCLUSIONES 166 BIBLIOGRAFIA 170 ANEXOS 173 4 IN TRODUCCIÓN Laspresentesnotasal programa tienen como objetivo el estudio del canto y susdiversasetapasculturalesconocidascomo géneros, lascualesdependen de los diferentes contextos históricos tanto nacionales, así como los dados en el extranjero. Dichas etapas se crean para discernir la expresión de una época característica. El tema resulta interesante, debido a que dentro de la música, el canto posee una gran importancia, ésta recae en la vasta cantidad de recursos para su ejecución, desde melódicos, hasta escénicos, pasando incluso por (y este un factor determinante) el recurso literario, dando como producto final la representación más completa en cuanto a música nos referimos, y, de la cual, difícilmente conectaría todosloselementosanteriorescualquier otro instrumento. Con el sentido del arte en general –como parte del proceso de comunicación— se inicia la profundización hacia territorios, tanto irrelevantes, como profundamente emotivos de la psique humana. Específicamente la expresión humana a través del canto se convierte en uno de los medios más eficientes para llegar al receptor, pero sobre todo, para despertar en él un verdadero interésen losaspectoscomunesde la vida ya antesmencionados. Así, nace la inquietud por conocer la importancia en la cual radica la persuasión de la voz, pero sobretodo, el descifrar los mensajes dirigidos intencionalmente hacia el receptor con múltiples fines; estos que pueden ser desde lasdiferentesemociones humanashasta lasactividadesrelacionadascon el medio ambiente que nos rodea. Por ello y por la cantidad de temas a desarrollar, emisor y receptor deben coincidir en cuanto a códigos para una perfecta comprensión de dichosmensajes. Lasépocaso faseshistóricasde la misma sociedad, influyeron notoriamente en las creaciones artísticas; y de igual forma la interrelación entre diferentes 5 producciones artísticas da como resultado que éstas sean más completas (la suma del teatro, música y danza, dan como resultado a la ópera; que es un ejemplo de esto), así, dentro de estas fusiones, se analizará la dupla de la literatura yel canto como una de lasmásvinculadasentre sí, ya que esla única rama de la música que trabaja de la mano con textos(desde poesía, narrativa en prosa que en su mayoría corresponde al Lied, a la mélodie y a la música nacionalista; pasando por textos sacros, estos dentro del oratorio, así como libretosde corte sátiro o dramático, éstosúltimospropiosde la ópera. Las corrientes vanguardistas que en un principio fueron severamente criticadas, poco a poco encontraron aceptación, podía darse el caso de incluso desbancar teoríasanterioresydar paso a nuevas; la vozse fue transformando así en un recurso muypoderoso tanto en la interpretación; como en recursostécnicos ysonoros(técnicasextendidas) para ciertascomposiciones. La postura optimista de tales cuestiones fue la invitación por parte del compositor —mediante su particular expresión individual—al aludir al receptor ya su respectiva experiencia, la influencia de los diferentes movimientos artísticos, enriquece de técnicas, temática y puntos de vista diversos, para convertirlos en expresión de un arte dirigido en su mayoría a todoslosestratossociales: el Canto, en este caso. Finalmente, espreciso advertir que la temática se desarrollará a travésdel análisisde la vida yobra (esto únicamente dentro del contexto musical) de once compositores pertenecientes a diferentes etapas artísticas, destacando así afinidades y diferencias musicales entre sí en lo referente al canto y la música vocal, la importancia de esta fase radica en que, es a partir de ésta como se marcarán laspautaspara losestudiosespecíficosde cada caso. La siguiente parte pone de manifiesto la situación social ycultural, que fungió como terreno para el nacimiento de expresiones características de la época, a partir de losaspectos musicalesde loscompositoresanalizaremoslasdiferencias 6 en las producciones vocales y cómo dichas diferencias las caracterizaron hasta llegar al concepto de “géneros”. Mientrasque en la tercera parte se proyecta llevar a la práctica a aquellas teoríasdel estudio del canto, de manera específica en losdiferentesgéneros, es aquí donde se exploran los porqués, de esta expresión del arte, a través del análisis musical general de las piezas en cuestión, así como recomendaciones interpretativasyestilísticas, basado en dos vertientes: la época a la cual pertenece la pieza en cuestión, por tanto, el género al que representa ysu relación con el texto que le precede. Esla presente pues, una invitación a la exploración del canto desde puntos de vista particularescomo interpretacionessean posibles. Mediante el desarrollo del tema se intenta proyectar el entorno global donde se llevó a cabo el conocimiento de diferentes géneros concebidos en conjunto como importantes cambiosen la historia de la producción artística. 7 PROGRAMA DE RECITAL PUBLICO QUE FORMA PARTE DEL EXAMEN PROFESIONAL Nombre del sustentante: Paloma Yuridia Lucas Landgrave Para obtener el título de: Licenciado en Canto LIEDER “Aufträge” Robert Schumann (1810—1856) “Liebst du um Shöneheit” Clara Schumann (1819—1896) “Der Alpenjäger” FranzSchubert
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