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Trabajo Fin De Máster Universidad de Valladolid Máster en Música Hispana LA CONSTRUCCIÓN DE UN ARCHIVO AUDIOVISUAL ETNOMUSICOLÓGICO: PROPUESTA DE CATALOGACIÓN DE MÚSICA Y ARTES ESCÉNICAS DE LA INDIA Trabajo Fin de Máster Presentado para la obtención del Título de Máster en Música Hispana por JUAN MANUEL BEJARANO GÓNZALEZ Realizado bajo la dirección del tutor: Dr. D. Enrique Cámara de Landa 2018 LA CONSTRUCCIÓN DE UN ARCHIVO AUDIOVISUAL ETNOMUSICOLÓGICO: PROPUESTA DE CATALOGACIÓN DE MÚSICA Y ARTES ESCÉNICAS DE LA INDIA Universidad de Valladolid Máster en Música Hispana LA CONSTRUCCIÓN DE UN ARCHIVO AUDIOVISUAL ETNOMUSICOLÓGICO: PROPUESTA DE CATALOGACIÓN DE MÚSICA Y ARTES ESCÉNICAS DE LA INDIA Trabajo Fin de Máster Presentado para la obtención del Título de Máster en Música Hispana por JUAN MANUEL BEJARANO GÓNZALEZ Realizado bajo la dirección del tutor: Dr. D. Enrique Cámara de Landa Curso académico 2017/2018 A mis padres «La película constituye un soporte único y tal vez el más importante de la documentación disponible para el etnomusicólogo» (Hood 1971, 261) . ÍNDICE GENERAL INTRODUCCIÓNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN ..................................................................................................................................................... 19 JUSTIFICACIÓN Y OBJETIVOS ............................................................................................. 21 ESTADO DE LA CUESTIÓN .................................................................................................... 23 ESTRUCTURA DEL TRABAJO Y METODOLOGÍA ............................................................. 34 CAPÍTULO I LOS ARCHIVOS DE DOCUMENTACIÓN AUDIOVISUALLLLLLLLLLLLLLLLLLLL ..................................................................................................................................................... 37 I.1. CONSIDERACIONES GENERALES ................................................................................. 39 I.2. TIPOLOGÍAS DE ARCHIVOS AUDIOVISUALES .......................................................... 46 I.3. ARCHIVOS ETNOMUSICOLÓGICOS .............................................................................. 49 CAPÍTULO II ASPECTOS LEGALES Y ÉTICOS EN LA ETNOMUSICOLOGÍA AUDIVISUALLLLL ..................................................................................................................................................... 61 II.1. LEGISLACIÓN SOBRE LOS DERECHOS DE PROPIEDAD INTELECTUAL ............ 63 II.2. PROPIEDAD INTELECTUAL EN LOS ARCHIVOS AUDIOVISUALES ..................... 68 II.3. CONSIDERACIONES ÉTICAS ......................................................................................... 73 CAPÍTULO III FASES Y PROBLEMÁTICAS EN TORNO A LA CONSTRUCCIÓN DEL ARCHIVO AUDIOVISUAL DE MÚSICA Y ARTES ESCÉNICAS DE LA INDIAAAAA ..................................................................................................................................................... 93 III.1. ADQUISICIÓN .................................................................................................................. 96 III.2. TRANSFERENCIA ........................................................................................................... 98 III.3. ALMACENAMIENTO ...................................................................................................... 99 III.4. EDICIÓN ......................................................................................................................... 102 III.5. CATALOGACIÓN .......................................................................................................... 106 III.6. ACCESO .......................................................................................................................... 116 III.7. PERMISOS ...................................................................................................................... 117 CAPÍTULO IV PROPUESTA CATALOGRÁFICAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA ................................................................................................................................................... 121 IV.1. DESCRIPCIÓN DE LA FICHA DE CATALOGACIÓN ............................................... 123 IV.2. GRABACIONES INDIA (2005/2006) ............................................................................ 127 IV.3. GRABACIONES VALLADOLID (2004/2010) .............................................................. 227 CONCLUSIONES ................................................................................................................... 275 BIBLIOGRAFÍA ..................................................................................................................... 283 LISTA DE ILUSTRACIONES ILUSTRACIÓN 1 - ORGANIZACIÓN DE LA DESCRIPCIÓN DE UN DOCUMENTO. REGLAS DE CATALOGACIÓN IASA, 31. .............................................................................. 29 ILUSTRACIÓN 2 - ENTRADA DE CATÁLOGO. FIAF CATALOGUING RULES FOR FILM ARCHIVES, 6. ................. 30 ILUSTRACIÓN 3 - PROCESO DE FORMACIÓN DEL ARCHIVO AUDIOVISUAL ETNOMUSICOLÓGICO. ESQUEMA: JUAN MANUEL BEJARANO GONZÁLEZ ............................................................. 96 ILUSTRACIÓN 4 - GRABACIONES DE CAMPO DEL VIAJE 2002/2003 EN CINTAS DE VÍDEO VHS. IMÁGENES: JUAN MANUEL BEJARANO GONZÁLEZ ............................................................ 97 ILUSTRACIÓN 5 - MENSAJES DE ERROR DURANTE EL PROCESO DE TRANSFERENCIA. IMÁGENES: JUAN MANUEL BEJARANO GONZÁLEZ. ......................................................... 98 ILUSTRACIÓN 6 - DISPOSITIVOS DE ALMACENAMIENTO. ESQUEMA: JUAN MANUEL BEJARANO GONZÁLEZ ........................................................... 102 ILUSTRACIÓN 7 - EDICIÓN DE VÍDEO CON SONY VEGAS. IMAGEN: JUAN MANUEL BEJARANO GONZÁLEZ ............................................................ 103 ILUSTRACIÓN 8 - PARÁMETROS DE ENTRADA EN SONY VEGAS. IMAGEN: JUAN MANUEL BEJARANO GONZÁLEZ. ............................................................. 104 ILUSTRACIÓN 9 - PARÁMETROS DE SALIDA EN SONY VEGAS. IMÁGENES: JUAN MANUEL BEJARANO GONZÁLEZ .......................................................... 105 LISTA DE TABLAS TABLA 1 - CUADRO COMPARATIVO, FÉLIX DEL VALLE GASTAMINZA. ........................................................ 41 TABLA 2 - METADATOS DE VÍDEO DEL NATIONAL CULTURAL AUDIOVISUAL ARCHIVES. ......................... 116 TABLA 3 - MODELO DE FICHA APLICABLE AL CATÁLOGO AUDIOVISUAL ETNOMUSICOLÓGICO. DISEÑO: JUAN MANUEL BEJARANO GONZÁLEZ ......................................................................... 125 Agradecimientos A mis profesores del Máster en Música Hispana por la formación brindada. A mi tutor, Enrique Cámara de Landa, por su confianza y disposición prestada a lo largo del trabajo. Gracias por todo lo aprendido. A la Fundación Casa de la India, por abrirme las puertas de este fascinante país. INTRODUCCIÓN JUSTIFICACIÓN Y OBJETIVOS El objeto de estudio de este trabajo fin de máster viene determinado por un interés personal hacia las tradiciones musicales del mundo, materia ya iniciada en el curso 2016/2017 con el estudio organológico e iconográfico de instrumentos musicales de la américa prehispánica y su posterior inventariado en la Casa Museo Colón y el Museo Fundación Cristóbal Gabarrón de Valladolid1. Sin embargo, la desaparición total de los fondos musicales de la Fundación Cristóbal Gabarrón imposibilitó continuar la labor planteada en el TFG de estudiar y analizar acústicamente dichos instrumentos musicales desde la metodología de la arqueología experimental. Este hecho obligó a barajar diferentes temáticas que fueran viables y coherentes con mi formación académica e interés musical para la elaboración de un TFM. En este aspecto, la ciudad de Valladolid ofrece un gran número de eventos culturales y actividades formativas relacionadas con la música y artes escénicas de la India gracias a la Fundación Casa de la India, un centro dedicado a la difusión de la cultura y sociedad de la India en España. Esta Fundación fue fruto de una iniciativa propuesta por su actual director, Guillermo Rodríguez y consiguió concretarse en el año 2006 con la creación de una sede bajo el patrocinio compartido por la embajada de este país, la Universidad de Valladolid y el gobierno de la ciudad. Desde entonces, organiza regularmente programas en torno a diversas manifestaciones artísticas tradicionales y contemporáneas de la India, principalmente las relacionadas con música, danza, teatro, literatura, fotografía, cine, vídeo-documentales y artes plásticas. Bajo esta premisa, durante el curso 2017/2018 solicité realizar las prácticas de máster en dicha institución, con el ánimo de formarme y aprender más acerca de las diversas manifestaciones, sistemas y prácticas musicales de la India. Esta dedicación hacia la música de la India me permitió contactar con el profesor Enrique Cámara de Landa, catedrático de Etnomusicología y profesor del Departamento de Historia y Ciencias de la Música de la Universidad de Valladolid, quien me ofreció la oportunidad de trabajar sobre su propio trabajo de campo. De esta forma surgió la necesidad de elaborar un catálogo de las grabaciones y materiales audiovisuales que el propio 1 Juan Manuel Bejarano González, «Inventario razonado de instrumentos musicales de la américa prehispánica en dos colecciones de la ciudad de Valladolid» (trabajo Fin de Grado, Universidad de Valladolid, 2017), http://uvadoc.uva.es/bitstream/10324/28023/1/TFG_F_2017_188.pdf. 21 etnomusicólogo realizó durante sus viajes
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