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Ÿþl a I M P R O V I S a C I Ó UNIVERSIDAD AUTÓNOMA DE MADRID FACULTAD DE FILOSOFÍA Y LETRAS DEPARTAMENTO DE MÚSICA TESIS DOCTORAL LA IMPROVISACIÓN EN LA HISTORIA DE LA MÚSICA Y DE LA EDUCACIÓN: ESTUDIO COMPARATIVO DE LA CREATIVIDAD EN LA MÚSICA EN NIÑOS DE 7 A 14 AÑOS de Cristina Alcalá-Galiano Ferrer para la obtención del grado de doctor en Historia y Ciencias de la Música Director Tutor D. José Luis Linaza Iglesias D. Alfredo Vicent López Catedrático Interfacultativo de Psicología Director del Centro Superior de Evolutiva y de la Educación Investigación y Promoción de la Música Coordinador del programa de Doctorado Prof. Contr. Doctor del Dpto. de Música En la UAM En la UAM Madrid, Mayo de 2007. A mi madre Isabel, ferviente improvisadora y a mi padre Alfonso que me enseño el valor de la música A mi esposo Alfonso, sin su paciente ayuda esta tesis no hubiera sido posible “En el punto donde se detiene la ciencia, empieza la imaginación” Charles Baudelaire (París 1821-1867) INDICE AGRADECIMIENTOS............................................................................................................................. 9 INTRODUCCIÓN ................................................................................................................................... 11 1. JUSTIFICACIÓN DEL TEMA.......................................................................................................... 11 2. RAZONES PARA LA INVESTIGACIÓN........................................................................................ 14 3. HIPÓTESIS.......................................................................................................................................... 15 4. METODOLOGÍA................................................................................................................................ 16 4.1. Antecedentes de la investigación ................................................................................................... 17 4.2. Etapas establecidas......................................................................................................................... 17 4.3. Criterios de la elaboración ............................................................................................................. 19 4.4. Presentación y redacción................................................................................................................ 20 4.5. Resumen y Estructura de la Tesis .................................................................................................. 20 PRIMERA PARTE: LA IMPROVISACIÓN EN LA HISTORIA DE LA MÚSICA Y DE LA EDUCACIÓN........................................................................................................................................... 26 CAPÍTULO 1: LA IMPROVISACIÓN................................................................................................. 26 1.1. Descripción de la Improvisación: definiciones diversas ................................................................ 28 1.2. Estudio, teoría y práctica de la Improvisación ............................................................................... 33 1.3. Diversos enfoques en la enseñanza de la improvisación................................................................ 35 1.4. El Proceso de la Improvisación...................................................................................................... 37 1.5. La Improvisación en diferentes Culturas........................................................................................ 40 CAPÍTULO 2: LOS ORÍGENES DE LA MÚSICA............................................................................. 46 2.1. La música en la Prehistoria: Aproximación básica ........................................................................ 46 2.2. Los primeros colonizadores en la Peninsula Ibérica ...................................................................... 53 CAPÍTULO 3: PERIODO GRECO-ROMANO................................................................................... 58 3.1. Historia y cultura greco-romana: aproximación básica.................................................................. 58 3.1.1. Concepción filosófica y de la educación ................................................................................ 62 3.1.2. La Educación musical: formación general, vocal e instrumental ........................................... 63 3.1.2.1. La formación y técnica de la voz así como la práctica ................................................... 65 3.1.2.2. La Improvisación como parte de la formación musical.................................................. 67 CAPÍTULO 4: LA EDAD MEDIA......................................................................................................... 70 4.1. La Música en la Edad Media en Europa, hasta el siglo XII .......................................................... 70 4.1.1. De la Música oral a la escrita ................................................................................................. 71 4.1.2. Notación musical.................................................................................................................... 72 4.1.2.1. Otras notaciones posteriores........................................................................................... 75 4.1.2.2. Odón de Cluny y Guido D’Arezzo ................................................................................. 75 4.1.3. Formas musicales: Principio de la Forma............................................................................... 77 4.1.3.1. Formas musicales improvisatorias.................................................................................. 79 4.1.3.2. Otras formas musicales improvisadas más comunes en este periodo ............................ 80 4.1.3.3. La canción monódica profana en latín............................................................................ 83 4.1.4. La lírica trovadoresca y trovera: la canción monódica y vernácula........................................ 84 4.1.4.1. La práctica de ejecución (improvisada) .......................................................................... 88 4.1.5. La lírica provenzal en España y Portugal ............................................................................... 89 4.1.5.1. Las Cantigas de Santa Maria .......................................................................................... 91 4.1.6. La poesía Italiana. Las Laude................................................................................................. 93 4.2. La Edad Media europea hasta el siglo XIV.................................................................................... 95 4.2.1. La Polifonía: su nacimiento.................................................................................................... 95 4.2.1.1. La polifonía improvisada................................................................................................ 97 4.2.2. La improvisación en las formas musicales: discanto, organum, motete................................. 98 4.2.3. Otras formas musicales a finales del siglo XIV: ballades, rondeaux, chansons balladées, virelais............................................................................................................................................ 102 4.2.4. La música inglesa hasta el siglo XV: el gymel y el discanto inglés...................................... 104 4.2.5. La polifonía improvisada y método para su ejecución ......................................................... 107 CAPÍTULO 5: EL RENACIMIENTO ................................................................................................ 109 5.1. El Periodo de Transición hacia el Renacimiento.......................................................................... 109 5.2. Escuelas Flamenca y Borgoñona.................................................................................................. 109 5.3. Las Escuelas o Capillas y la Pedagogía musical .......................................................................... 112 5.4. Los principios de la Imprenta musical ......................................................................................... 115 5.5. Teóricos destacados en el Renacimiento: tratados, teorías y planteamientos acerca de la improvisación...................................................................................................................................... 116 5.6. Los Géneros más destacados en el s. xv, donde la improvisación tuvo también su importancia . 122 5.7. La Música instrumental y los nuevos instrumentos ..................................................................... 125 5.8. Prácticas de la improvisación que continuaron en el siglo XVI: diferenciación de estilos escrito e improvisado...................................................................................................................................... 127 5.8.1. Tratadista y compositor español: Diego Ortiz..................................................................... 129 5.9. La ornamentación en la composición del siglo XVI .................................................................... 130 5.10. La improvisación en los “instrumentos perfectos”..................................................................... 132 5.11. Nuevas formas musicales basadas en la improvisación: variaciones, fantasías, pavana, galliarda, etc....................................................................................................................................... 134 5.12.
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