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Instruments De La Tradició Musical Valenciana

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Instruments De La Tradició Musical Valenciana INSTRUMENTS DE LA TRADICIÓ MUSICAL VALENCIANA BARRACA QUINA FUMAGUERA 2019 En aquest llibre s’utilitza l’ús genèric del masculí basant-se en la seua condició de terme no marcat en l’oposició masculí/femení, aixó implica que no hi ha cap denotació de discriminació sexista. El llibre ha participat en la convocatòria dels premis de la Generalitat per a la promoció de l’ús del valencià 004 Introducció. Eva Ortiz i Gàlvez 006 Col·laboracions Francisco Amat García Fernando J. Antón Pérez Associació Cultural El Mussol. Quart de Poblet Eduard Caballer Baquero Josep Juste i Martí Mireia Martínez Jiménez Vicent Manel Martínez Palacios Ferran Navarro i Soriano Revetla a casa de Ricardo Guillen. San Juan 29 de setembre de 1895. Fotografia de Oscar aillardV Gascard, per cortesia del seu net, Eva Ortiz i Gàlvez José Manuel Collado Vaillard. En l’ampliació es pot veure panderetes, postisses en les mans de les balladores i una guitarra Fermín Pardo Pardo 021 Els Instruments Tradicionals. “Organologia. Conceptes i Classificació» Eva Ortiz i Gàlvez EDITA: 035 Idiòfons. “Instruments amb Cos Sonor. La Xicoteta Percussió Tradicional” Barraca “Quina Fumaguera”. Eva Ortiz i Gàlvez 048 Membranòfons. “Aproximació als Instruments Membranòfons en la Música Tradicional Alacantina” DIRECCIÓ I COORDINACIÓ: Eduard Caballer i Baquero Margarita. M. Fernández i Mateos. 082 Cordòfons. «Els Instruments de Corda en la Tradició Musical Valenciana”· Josep Juste i Martí Juan de Dios Bermúdez i López. Aeròfons COORDINACIÓ COMERCIAL: 101 Aeròfons de bufada directa. “Xirimites, Dolçaines, Gaites,Tarotes... i altres Instruments de Llengüeta Doble”. Juan de Dios Bermúdez i López. 3 Ferran Navarro i Soriano 115 Aeròfons de bufada indirecta. “Iconografia de la Cornamusa a Terres Valencianes” FOTOGRAFIES: A.C. El Mussol Alicante Blue Events. Aeròfons de llengüeta lliure. “La presència de l’Acordió al País Valencià” Manuel Meléndez 131 Mireia Martínez Jiménez Miguel Santacruz Mónica San Sebastián Conjunts instrumentals FOTOGRAFIA PORTADA: 151 «Instruments Bàsics per a l’acompanyament de la Jota” Revetla a l’Horta alacantins. Sant Joan, octubre de 1895. Fermin Pardo Pardo Fotografia de Oscar Vaillard Gascand per cortesia del seu net José Manuel Collado Vaillard. 161 Importància de les Bandes de Música en el desenvolupament de la Cultura Musical en la Província d’Alacant”. Francisco Amat García ‘INSTRUMENTS DE LA TRADICIÓ MUSICAL VALENCIANA” DIRECCIÓ: ANNEX Col·lecció d’Instruments Eva Ortiz i Gàlvez. 171 «Dolçaines i Tabals de L’Alacantí”. TEXTOS ORIGINALS EN LLENGUA VALENCIANA, revistas per normalització per: Ferran Navarro i Soriano, Eva Ortiz i Gàlvez Oficina Municipal Ajuntament d’Alacant. 185 “Cap a un Museu Valencià de l’Acordió. MUVAC. MUseu VAlencià de l’ACordió Maria Josep Mira iRoig. Vicent Manel Martínez Palacios 193 «Memòria d’un Diatònic Alacantí”. DISSENY, MAQUETACIÓ, IMPRESSIÓ I ENCUADERNACIÓ: Fernando J. Antón Pérez, Eva Ortiz i Gàlvez Ofibook S.L. Carrer Isla de Cuba 66, 03009. Alacant.. [email protected] 202 BARRACA QUINA FUMAGUERA Deposit legal A 307-2016 221 GUIA COMERCIAL Quan Margarita i Antonio de la Barraca “Quina produït la sintonia de creuar-nos, de coincidir en ta. El tercer grup d’aeròfons, de llengüeta lliure són Fumaguera!” contactaren amb mi l’any passat, ja formes, conceptes, i visions. Uns articles entren en els acordions amb un sorprenent article que ens imaginava que faríem un bon equip. Ambdós són el terreny d’altres sense destorbar, uns textos com- presenta també els grans constructors valencians uns visionaris i tenen les idees molt clares sobre pleten a altres, les paraules s’entrecreuen entre d’aquest instrument. No podíem tractar els instru- la riquesa del nostre patrimoni, sobre la importàn- elles. La sensació final en ajuntar tots els articles ments valencians sense explicar les agrupacions cia de divulgar-lo i donar-lo a conèixer com única ha sigut com si totes i tots dansàrem a un mateix instrumentals més nostres, així que tenim un docu- ferramenta possible per la seua preservació i posa- ritme i cantàrem una mateixa tonada. La màgia de ment sobre formacions instrumentals pròpiament da en valor. Jo ja havia col·laborat en un llibret de la música és l’única explicació possible. valencians, més en concret les emprades al voltant la Foguera La Ceràmica, a la que pertany la seua de la jota, i altre treball sobre un fenomen musical barraca. Aquell llibret estava dedicat a la dolçaina Tots els articles que trobareu a continuació són molt nostre que en l’actualitat forma el teixit més i el tabalet, la meua especialitat, així que no podia d’una gran qualitat. D’una banda superposen la sòlid de la nostra cultura musical, les Bandes de imaginar exactament quina era la seua idea, què didàctica amb la tècnica i fusionen un llenguatge música i la seua evolució a Alacant. voldrien de mi. Ara la proposta anava més enllà. proper, que puga ser de fàcil lectura per a un públic Volien que els coordinara un monogràfic sobre tots profà, amb la riquesa divulgativa, per a un públic Per acabar hem inclós tres annexos que hem ano- els instruments valencians. més instruït en la matèria. D’altra banda, són vi- menat Col·leccions d’Instruments. Aquesta part és sualment atractius i il·lustren perfectament els tex- realment un homenatge a instruments concrets, De seguida vaig veure que era un projecte molt tos amb gravats, imatges, esquemes i dibuixos. a músics concrets, a projectes de futur. El primer gran, fins i tot gairebé inèdit. Jo almenys no tinc document naix d’una conferència efectuada en el coneixement de l’existència d’un tractat que parle Faig ara una succinta explicació del contingut del “Desembre Tradicional” programat per la regidoria de tots i cadascun dels instruments de totes les fa- llibret: de cultura d’Alacant el 2016, vol ser un reconeixe- mílies representades ací. Les primeres preguntes ment al dolçainers del segle XX investigats a la ciu- van ser: què, com, qui... I la resposta va ser una Vaig considerar important incloure una xicoteta tat d’Alacant. El segon article és la transcripció d’un confiança absoluta en el meu criteri i llibertat total biografia de cadascun, perquè lectores i lectors somni que comença en una cerca d’instruments i en tant a extensió, contingut i participants. tingueren informació de qui diu què. A continuació acaba en un projecte de museu. El tercer parla es desenvolupen ordenadament 12 articles, en el d’una curiosa troballa, d’una joia d’instrument amb Plantejar-se una obra tan ambiciosa com aquest primer parlem d’organologia, una introducció als al voltant de 100 anys que ha aplegat als nostres llibret dedicat als instruments de la tradició valen- conceptes i classificació dels instruments. És una dies. ciana no haguera sigut possible sense comptar part teòrica imprescindible per entendre els arti- amb una bona selecció d’especialistes experts en cles que vindran a continuació. La primera gran Res més a dir, tan sols que desitgem que gau- la matèria. Si, a més a més, aquests experts són família d’instruments a tractar són els Idiòfons, deixen de la lectura de la mateixa manera que persones apassionades i enamorades de la nostra aquells instruments que tenen sonoritat pròpia, hem gaudit, cadascú de nosaltres, de l’elaboració cultura, les nostres tradicions, en definitiva de les els més rudimentaris i artesanals i com, tots ells, d’aquests treballs. També agrair a la Barraca “Qui- nostres arrels, trobem la fórmula perfecta per acon- protagonitzen la vida social, mística i comunicati- na Fumaguera!”, i en concret a Margarita i Antonio, seguir un treball més enllà que digne, emocionant. va dels valencians. La segona gran família és la per fer un treball que trobem a faltar en les nostres Altre avantatge d’aquestes persones és la versatili- dels Membranòfons, amb un fantàstic article que institucions. Afortunadament hi ha persones i as- tat: es podrien haver intercanviat els articles sense ens parla fins i tot de ritmes tradicionals alacantins sociacions que ocupen l’espai que no saben o no cap problema. i valencians. L’article dels Cordòfons, a continua- volen assumir polítics, ajuntaments i conselleria. Si ció, ens mostra orígens, evolució i característiques, nosaltres no cuidem i fem cuidar el nostre patrimo- L’equip de col·laboradores i col·laboradors inclou fa també interessants comparances i entra en els ni, ningú ho farà. 2 dones, 7 homes i una associació cultural. Totes gèneres musicals dels instruments. La família dels i tots han siguts partícips del guió que vaig dis- Aeròfons, per ser tan ampla s’ha desglossat en 3 Per últim un agraïment especial a José Manuel senyar per a aquest llibret i de qui col·laborava en articles. El primer tracta sobre els instruments de Collado Vaillard per la cerca de retrats de músics, cada apartat. Molts de nosaltres ens coneixem de bufada directa, bàsicament de doble llengüeta, d’entre la col·lecció de fotografies del seu iaio Os- temps enllà i hem “lluitat en moltes batalles” junts; com: Dolçaines, Gaites,Tarotes... i també fa re- car Vaillard Gascard, i també per autoritzar la publi- però mai haguera imaginat que anàrem a funcionar ferència dels constructors, dels intèrprets. El segon cació en aquest llibret. com una estructura única i encadellada. Cada ar- article parla d’instruments de bufada indirecta, les ticle s’ha fet de forma independent per cada autor cornamuses o sacs de gemecs, des de la perspec- Eva Ortiz i Gàlvez o autora, no hem parlat entre nosaltres però s’ha tiva iconogràfica en un treball molt diferent a la res- Dolçainera. COL·LABORACIONS 7 S’aproxima a la música tradicional de dolçaina Francisco Amat García quan comença a dirigir la Colla el Tossal de Sant Vicent del Raspeig i posteriorment, junt a alguns Nascut a Sant Vicent del Raspeig, comença es- membres de l’associació, crea el grup de música tudis en la S.M.
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