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María Enriqueta Frontera Zunzunegui UNIVERSIDAD DE SALAMANCA Departamento de Biblioteconomía y Documentación TESIS DOCTORAL UNA FIGURA SEÑERA EN EL CAMPO DE LA MÚSICA TRADICIONAL ESPAÑOLA EN EL PRIMER TERCIO DEL SIGLO XX: El POLIFACÉTICO MÚSICO ALEMÁN KURT SCHINDLER (1882-1935) MARÍA ENRIQUETA FRONTERA ZUNZUNEGUI DIRECTORES: DR. JOSÉ ANTONIO FRÍAS MONTOYA DRA. MATILDE OLARTE MARTÍNEZ Salamanca, 2014 UNIVERSIDAD DE SALAMANCA Departamento de Biblioteconomía y Documentación TESIS DOCTORAL UNA FIGURA SEÑERA EN EL CAMPO DE LA MÚSICA TRADICIONAL ESPAÑOLA EN EL PRIMER TERCIO DEL SIGLO XX: El POLIFACÉTICO MÚSICO ALEMÁN KURT SCHINDLER (1882-1935) MARÍA ENRIQUETA FRONTERA ZUNZUNEGUI Vº Bº De LOS DIRECTORES DE LA TESIS DE DOCTORADO: DR. JOSÉ ANTONIO FRÍAS MONTOYA DRA. MATILDE OLARTE MARTÍNEZ Salamanca, 2014 2 A mis padres, les debo todo 3 Agradecimientos Esta tesis es, en parte, fruto del azar y la amistad, ya que fue degustando un té vespertino, al regreso de uno de sus frecuentes viajes a los Estados Unidos, cuando Matilde Olarte, entusiasmada, me comentó sus últimos hallazgos en el archivo personal de Kurt Schindler, lamentándose al mismo tiempo del calamitoso estado del mismo, y de que no hubiese en marcha ningún trabajo de investigación riguroso y completo sobre tal personaje y su obra. He de confesar que Matilde fue muy hábil, pues supo despertar mi interés profesional ante ese cúmulo de documentos tan maltratados, de ahí que, si bien en un principio rechacé su sugerencia de emprender una investigación de este calado sobre Schindler y su legado, pronto, el atractivo de un personaje tan polifacético, con tantas aristas y tal trayectoria profesional, fueron venciendo mi resistencia, a ello ayudó el marco cultural en que se desenvolvió Schindler en España, la llamada Edad de Plata, etapa por la que siempre he sentido una predilección especial, dada su fecundidad en todos los terrenos culturales. De corazón le agradezco a la Dra. Olarte su empeño, y su generosidad sin límites al poner a mi disposición todos sus conocimientos sobre Kurt Schindler, así como las copias de los materiales de su archivo que tan trabajosamente reunió, sin todo ello, este trabajo no hubiese sido posible. Gracias infinitas Matilde también por el tiempo que le has dedicado, tus constantes desvelos en todo este proceso, y el apoyo que siempre me has prestado durante el mismo. A José Antonio Frías, colega durante un tiempo en tareas bibliotecarias, también me une una antigua y gran amistad. Él dirigió hace ya muchos años mis cursos de doctorado, y desde el primer momento en que le hablé de la posibilidad de emprender esta tesis doctoral me animó a hacerla, confiando en mi capacidad para llevarla a cabo, y ofreciéndome todo su apoyo y consejos, independientemente de que fuese a participar en ella o no. Me alegra que aceptases mi petición de codirigirla Jose, pues tu ayuda en la segunda parte ha sido fundamental, además, tu participación, me ha permitido presentarla en este Departamento, uniéndola así, de algún modo, a mi quehacer profesional en esta Universidad, muchas gracias por tu asesoramiento, tus consejos sobre aspectos estilísticos y el tiempo que le has dedicado. 4 Gracias infinitas a mi madre que es quién más me ha apoyado, animado y soportado en este largo proceso. Mi agradecimiento a mi primo Jesús Gómez de Liaño y a su familia por su confianza en que saldría bien de esta tarea, espero no haberles defraudado. Detrás de este trabajo, asimismo, han estado mis amigas, apoyándome en todo momento, y aunque se que me voy a olvidar algún nombre, quiero dar las gracias por su ánimos constantes a lo largo de todo este tiempo a Tere, Amalia, Concha, Carmen, Teresa, Isabel, Marisol, Pepi, Conchi… mi agradecimiento así mismo por haberme soportado en tantos momentos de frustración y desánimo. También quiero expresar mi agradecimiento públicamente a uno de mis compañeros en la Sección de Proceso Técnico, Lorenzo Albás Aso, por haberme resuelto infinitas veces los problemas relacionados con el documento world (maquetación, diseño de página, etc.) que se me iban presentando a lo largo de esta investigación, gracias Lorenzo por tu paciencia y amabilidad para conmigo siempre que he recurrido a tí. 5 Índice general INTRODUCCIÓN .................................................................................. pp. 15-40 1. KURT SCHINDLER COMO OBJETO DE LA INVESTIGACIÓN. JUSTIFICACIÓN E INTERÉS DE SU ESTUDIO ................................. pp. 41-55 1.1.EL GÉNERO BIOGRÁFICO EN LAS CIENCIAS SOCIALES. BREVE PANORAMA DE LA BIOGRAFÍA HISTÓRICA .................................... pp. 56-75 1.2 ARCHIVOS. ARCHIVOS PERSONALES E INVESTIGACIÓN. LOS ARCHIVOS MUSICALES ..................................................................... pp. 76-98 2. SEMBLANZA DE KURT SCHINDLER A TRAVÉS DE LAS FUENTES p. 99 2.1. BIBLIOGRAFÍA SOBRE KURT SCHINDLER ............................ pp. 100-104 2.1.1. Obras de referencia ................................................................ pp. 105-120 2.1.2. Estudios introductorios de Música y poesía popular de España y Portugal .......................................................................................................... pp. 121-154 2.1.3. Escritos de investigadores coetáneos de Kurt Schindler ....... pp. 155-162 2.1.4. Artículos recientes sobre Kurt Schindler ................................. pp. 163-189 2.1.5. Estudios sobre Kurt Schindler de M. Olarte e investigadores de su entorno ............................................................................................. pp. 190-286 2.1.6. Aportaciones de Israel J. Katz sobre Kurt Schindler .............. pp. 287-296 2.1.7. Fuentes hemerográficas sobre Kurt Schindler ........................ pp.297-351 3. EL ARCHIVO PERSONAL DE KURT SCHINDLER......…………………p. 352 3.1. ESTADO DE LA CUESTIÓN ..................................................... pp. 353-366 3.2.LOCALIZACIÓN ACTUAL DE LOS MATERIALES. CARACTERÍSTICAS DEL FONDO Y TIPOLOGÍA DOCUMENTAL ................................... pp. 367-368 3.2.1. The New York Public Library ................................................... pp. 369-383 3.2.2. Hispanic Society of America .................................................... pp. 384-385 3.2.3. The Hispanic Institute at Columbia University ....................... pp. 386-388 3.2.4. Michigan State University………………………………………………..p. 389 3.2.5. Instituciones españolas ......................................................... pp. 390-392 3.2.6. Características del fondo y tipología documental…………….pp. 393-396 4. TRATAMIENTO ARCHIVÍSTICO Y PROPUESTA DE CLASIFICACIÓN DEL FONDO DOCUMENTAL DE KURT SCHINDLER…………………………..p. 397 4.1. TRATAMIENTO ARCHIVÍSTICO .............................................. pp. 398-405 6 4.2. PROPUESTA DE CLASIFICACIÓN DEL FONDO………………pp. 406-416 4.3. ACCESIBILIDAD DEL FONDO .................................................. pp. 417-418 CONCLUSIONES ............................................................................. pp. 419-426 BIBLIOGRAFÍA Y RECURSOS WEB ............................................. pp. 427-441 APÉNDICES DOCUMENTALES ..................................................... pp. 442-461 7 Índice de figuras Figura nº 1.- Fotografía de la Plaza de toros y Castillo de Oropesa (Toledo) tomada por Schindler (propiedad de la Hispanic Society of America………p. 32 Figura nº 2.- Fotografía del músico español Gustavo Pittaluga (1906-1975) corresponsal de Schindler………………………………………………………..p. 44 Figura nº 3.- Fotografía de niño de Kurt Schindler junto a sus padres y hermano……………………………………………………………………………p. 46 Figura nº 4.- Emil Nolde Tríptico Santa María Egipciaca………………..p. 48 Figura nº 5.- W. Kandinsky: Cuadrados con círculos concéntricos…… p. 49 Figura nº 6 .- Fotografía de Kurt Schindler………………………………..p. 53 Figura nº 7.- Imágen tomada por Schindler en el transcurso de uno de sus viajes por España………………………………………………………………...p. 54 Figura nº 8.- Cubierta de la biografía escrita por el historiador Manuel Fernández Álvarez sobre Cristóbal Colón……………………………………...p. 58 Figura nº 9.- Cubierta del primer tomo de la edición de 1782 de Les confessions de Jean Jacques Rousseau……………………………………….p. 61 Figura nº 10.- Cubierta de la obra The Polish Peasant in Europe And America, biografía que sobre el polaco, emigrado a Estados Unidos, Wladek Wisniewski, publicaron, entre 1918 y 1929, Willian I. Thomas y Florian Znaniecki…………………………………………………………………………...p. 61 Figura nº 11.- Cartel del biopic soviético El acorazado Potemkin, rodado en 1925 por Sergei Eisenstein………………………………………………………p. 64 Figura nº 12.- Hoja de servicios del Cuerpo de Artillería p. 67 Figura nº 13.- Cubierta de una edición en español de las memorias y el epistolario de Charles Darwin……………………………………………………p. 71 Figura nº 14.- Carta escrita por Federico García Lorca a su amigo Melchor Fernández Almagro……………………………………………………………….p. 72 Figura nº 15.- Portada de una edición en español de Lettres philosophiques de Voltaire………………………………………………………………………….p. 74 Figura nº 16.- Edificio que alberga en Barcelona el Archivo de la Corona de Aragón……………………………………………………………………………...p. 77 8 Figura nº 17.- Vista de la residencia de John James Audubon, actual sede de la Hispanic Society of América (Nueva York)……………………………..p. 78 Figura nº 18.- Documento afectado por la acidificación, con pérdida del soporte debido a la acción corrosiva de la tinta ferrogálica………………….p. 88 Figura nº 19.- Pantalla del portal web de la colección de Música y Musicología de la Biblioteca Nacional…………………………………………..p. 92 Figura nº 20.- Partitura de una canción popular española transcrita por Schindler
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