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Análisis De Un Bambuco Y Un Pasillo De Emilio Murillo, Una

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Análisis De Un Bambuco Y Un Pasillo De Emilio Murillo, Una ANÁLISIS DE UN BAMBUCO Y UN PASILLO DE EMILIO MURILLO, UNA POLKA Y UN TANGO BRASILERO DE ERNESTO NAZARETH A LA LUZ DE UNA REFLEXIÓN sobre EL NACIONALISMO MUSICAL JUAN DAVID FLÓREZ RINCÓN UNIVERSIDAD DISTRITAL FRANCISCO JOSÉ DE CALDAS MONOGRAFÍA OCTUBRE DEL 2017 UNIVERSIDAD DISTRITAL FRANCISCO JOSÉ DE CALDAS FACULTAD DE ARTES – ASAB PROYECTO CURRICULAR DE ARTES MUSICALES ANÁLISIS DE UN BAMBUCO Y UN PASILLO DE EMILIO MURILLO, UNA POLKA Y UN TANGO BRASILERO DE ERNESTO NAZARETH A LA LUZ DE UNA REFLEXIÓN SOBRE EL NACIONALISMO MUSICAL JUAN DAVID FLÓREZ RINCÓN Código: 20131098050 Énfasis Instrumental: Piano Director: María José Alviar Cerón Monografía Bogotá 2017 RESUMEN La época en la que nacieron y vivieron Emilio Murillo y Ernesto Nazareth fue un momento lleno de cambios económicos, políticos y sociales donde el capitalismo se desarrolló a gran escala alrededor de toda Latinoamérica. Mientras el capitalismo entraba al continente americano, el nacionalismo estaba insertándose en las discusiones políticas, económicas y culturales de las nacientes naciones latinoamericanas, este proceso generó diversas discusiones y definiciones alrededor del nacionalismo. Por otro lado, la singular vida que cada compositor tuvo y las maneras como diversos autores han leído e interpretado su obra en el contexto también es diversa. En consecuencia, independientemente de si estos compositores se consideraban a sí mismos, o fueron considerados luego de su muerte, como compositores nacionalistas, este trabajo pretende analizar cuatro piezas para piano (una de ellas para voz y piano), a la luz del contexto de los cincuenta años que comprenden el cambio del siglo XIX al XX (1880 – 1920). Desde el análisis se hará una comparación entre las piezas en búsqueda de elementos comunes que puedan dar indicios de los estilos compositivos de estos dos personajes, observando qué influencias o características del nacionalismo musical en sus países están presentes en sus piezas y como se correlacionan entre sí. PALABRAS CLAVE: Nacionalismo musical, Ernesto Nazareth, Emilio Murillo, Análisis Musical. ABSTRACT The time when Emilio Murillo and Ernesto Nazareth were born and lived was a time full of economic, politic and social changes when the capitalism was developed on a large scale around Latin America. While the capitalism was coming into the American continent, the nationalism was being included on the politic, economic and cultural discussions of the new born Latin American nations, this process produced diverse discussions and definitions around the nationalism. On the other hand, the unique life that each composer had and the ways in which different authors have read and interpreted their work in the context is also diverse. In consequence, regardless of whether these composers considered themselves, or were considered after their death, as nationalist composers, this monograph aims to analyze four pieces for piano (one of them for voice and piano), in the light of the context of the fifty years that comprise the change of the nineteenth century to the twentieth (1880 – 1920). From the analysis, a comparison will be done between the pieces in search of common elements that can give signs to the compositional styles of these two characters, noticing which influences or characteristics of the musical nationalism in their countries are present in their pieces and how they correlate each other. KEYWORDS: Musical Nationalism, Ernesto Nazareth, Emilio Murillo, Musical Analysis. Tabla de Contenido INTRODUCCIÓN ................................................................................................................................... 1 CAPITULO I .......................................................................................................................................... 3 1. Definiciones ......................................................................................................................... 3 2. ¿Por qué surge el nacionalismo?......................................................................................... 5 3. Nacionalismo en Brasil y Colombia s. XIX ............................................................................ 6 4. El nacionalismo como proyecto. ......................................................................................... 7 5. Requisitos para construir una nación, s. XX. ....................................................................... 8 6. Nacionalismo Musical ......................................................................................................... 9 7. Características del repertorio y el estilo del nacionalismo musical. ................................. 10 8. ‘Popular vs Académico’: Las discusiones sobre nacionalismo musical. ............................ 12 CAPITULO II ....................................................................................................................................... 16 I. EMILIO MURILLO CHAPULL (1880 – 1942) ............................................................................ 16 1. Panorama musical: El cambio del siglo XIX al siglo XX ...................................................... 16 2. Formación académica. ...................................................................................................... 17 3. Gruta simbólica y Guerra de los mil días. .......................................................................... 18 4. Viajes: Estados Unidos, Sevilla y El sur de Colombia ......................................................... 18 5. Relaciones con la clase política. ........................................................................................ 19 6. Popular vs Académico: Murillo vs. Holguín. ...................................................................... 20 7. Estilo .................................................................................................................................. 22 8. Obra ................................................................................................................................... 23 9. Posiciones de los Biógrafos ............................................................................................... 24 II. ERNESTO NAZARETH (1863 – 1934) ...................................................................................... 24 1. Familia, formación académica y Europa. .......................................................................... 25 2. Trabajos durante su vida ................................................................................................... 26 3. Popular vs. Erudito. Una lucha Interna – Externa: ............................................................ 27 4. Música Nacional ................................................................................................................ 29 5. Obra y Trayectoria musical ................................................................................................ 31 6. Estilo .................................................................................................................................. 32 7. Nazareth y el olvido ........................................................................................................... 33 CAPITULO III ...................................................................................................................................... 35 I. CANOITA ................................................................................................................................ 35 1. Forma: ............................................................................................................................... 36 2. Análisis Melódico .............................................................................................................. 37 3. Análisis del Acompañamiento ........................................................................................... 39 4. Análisis Armónico .............................................................................................................. 40 5. Análisis del texto ............................................................................................................... 40 II. PASILLO # 10 .......................................................................................................................... 42 1. Forma: ............................................................................................................................... 43 2. Análisis melódico: .............................................................................................................. 43 3. Análisis del acompañamiento. .......................................................................................... 46 4. Análisis Armónico: ............................................................................................................. 47 III. APANHEI-TE CAVAQUINHO ............................................................................................... 48 1. Forma: ............................................................................................................................... 49 2. Análisis Melódico: ............................................................................................................. 50 3. Análisis del Acompañamiento: .......................................................................................... 52 4. Análisis Armónico: ............................................................................................................. 53 IV. FON-FON! .........................................................................................................................
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