THE INFLUENCE OF COLOMBIAN FOLK MUSIC IN MEJIA VALLEJO’S SUITE CRIOLLA AND REBELO BURBANO’S SUITE IN 3/4 FOR CLARINET AND STRING QUARTET by Santiago Baena Flórez, BA, MM A Project In CLARINET PERFORMANCE Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS Performance (Clarinet) David Shea Chair of Committe Lisa Garner David Dees Mark Sheridan Dean of the Graduate School May 2018 Copyright 2018, Santiago Baena Flórez Texas Tech University, Santiago Baena Flórez, May 2018 ACKNOWLEDGMENTS I want to thank my parents Javier Baena and Maria Filomena Flórez, and my sister Adriana Baena for their unconditional love and support, and for their kind words during all this time living far away. Thanks to my first music teacher Juan Felipe Arias Villa who taught me fundamentals in music, and to have big dreams and to always do my best. Special thanks to my clarinet mentors Maestra Elizabeth Isaza, Maestro Jorge Montilla, and Dr David Shea for believing in me and instructing me not only musically but also as a person, and as a professional. You are my inspiration to get better every day. Thanks to Dr. Lisa Garner, and Dr. David Dees for being part of my committee. Your input has been very valuable for me Thanks to David López, my good friend and colleague who has always cheered me up in this process and with whom I have made beautiful music. Thanks to Colombian Educator and clarinet player Maestro Javier Asdrubal Vinazco who provided me great information about the clarinet background, to composer Alfredo Mejía and Jose Rebelo for composing “Suite criolla for clarinet and string quartet and Suite in 3/4 for clarinet and string quartet. Finally, I want to thank to my wonderful wife, Molly Larson, for her love, support, and for always encourage me to not give up. ii Texas Tech University, Santiago Baena Flórez, May 2018 TABLE OF CONTENTS Pag. ACKNOWLEDGMENTS .................................................................................................... ii TABLE OF CONTENTS .................................................................................................... iii LIST OF FIGURES .............................................................................................................. v INTRODUCTION .............................................................................................................. vii CHAPTER I: HISTORICAL BACKGROUND OF THE CLARINET IN COLOMBIA ......................................................................................................................... 1 CHAPTER II: MUSIC FOR THE ANDEAN REGION .................................................. 4 COLOMBIAN MUSICAL GENRES .................................................................................... 4 PASILLO ................................................................................................................................ 4 BAMBUCO ............................................................................................................................ 5 GUABINA .............................................................................................................................. 7 INSTRUMENTS OF THE ANDEAN REGION ................................................................... 8 STRINGED INSTRUMENTS ............................................................................................... 8 TRADITIONAL WIND INSTRUMENTS .......................................................................... 10 TRADITIONAL ENSEMBLES ........................................................................................... 13 THE INFLUENCE OF ANDEAN TRADITIONAL TRENDS IN THE SUITES .............. 16 CHAPTER III JOROPO: MUSIC FROM THE EASTER PLAINS/LOWLANDS (LLANOS) REGION .......................................................................................................... 24 GENERAL MUSICAL ASPECTS ...................................................................................... 24 INSTRUMENTS OF THE EASTER PLAINS/LOWLANDS (LLANOS) REGION ......... 25 TRADITIONAL ENSEMBLE ............................................................................................. 29 USE OF THE JOROPO IN THE SUITES ........................................................................... 30 CHAPTER IV PORRO: A MUSICAL GENRE FROM ATLANTIC REGION ......... 36 INSTRUMENTATION OF THE ATLANTIC REGION .................................................... 37 WIND INSTRUMENTS ...................................................................................................... 37 PERCUSSION OF THE ATLANTIC REGION .................................................................. 38 THE CLARINET IN PORRO .............................................................................................. 42 THE USE OF PORRO IN THE SUITES ............................................................................. 43 CHAPTER V ....................................................................................................................... 46 CONCLUSION ................................................................................................................... 46 iii Texas Tech University, Santiago Baena Flórez, May 2018 BIBLIOGRAPHY ................................................................................................................ 47 iv Texas Tech University, Santiago Baena Flórez, May 2018 LIST OF FIGURES Figure 1 El Bambuco, watercolor by Ramón Torres Mendez………………………............ 1 Figure 2 Colombia: Geographical map, Andean Region……………………………………4 Figure 2.1 Colombian Tiple……………………….…………………………..…………….8 Figure 2.2 Colombian Requinto………………………………………………...………… 9 Figure 2.3 Andean Bandola…………………………………………………...……………10 Figure 2.4 Flauta de caña ………………………………………………………..…… 11 Figure 2.5 Quena……………………………………..…………………………………….12 Figure 2.6. Zampoña……………………………………………………...………………..13 Figure 2.7 Chirimia ensemble…………………………………………………..……….....14 Figure 2.8 Colombian string trio ensemble………………………………………………...14 Figure 2.9 Colombian estudiantina……………………………………………...…………15 Figure 2.10. Excerpt of Colombian pasillo, La gata golosa, by Fulgencio García……… 17 Figure 2.11 Excerpt of Viento del Alba, pasillo, Suite en ¾ by José Rebelo………………17 Figure 2.12 Excerpt of pasillo, Suite Criolla by Alfredo Mejía……………………….…..18 Figure 2.13 Rhythmic patterns of pasillo, written in ¾………………………………...….18 Figure 2.14 Excerpt of pasillo, Suite in ¾ by José Rebelo……………………………… 19 Figure 2.15 Excerpt of pasillo, Suite Criolla by Alfredo Mejía……………………………19 Figure 2.16 Excerpt of bambuco On tabas, by Emilio Sierra…………………………… 20 Figure 2.17 Excerpt of bambuco, Suite Criolla by Alfredo Mejía………………………....21 Figure 2.18 Bambuco rhythmic patterns of Espejos for band by Andrés Acosta ………………………………………………………………………………………… 21 Figure 2.19 Excerpt of bambuco, Suite Criolla by Alfredo Mejía………………………....22 Figure 2.20 excerpt of bambuco, Suite Criolla by Alfredo Mejía. Bars 24-26……………23 Figure 2.21 excerpt of bambuco, Suite Criolla by Alfredo Mejía. Bars 24-26 ……….…23 Figure 3 Colombian geographical map, Plain/lowlands Region…………………………...24 Figure 3.1 Cuatro llanero…………………………………………………………….……26 Figure 3.2 Bandola llanera………………………………………………………….….….27 v Texas Tech University, Santiago Baena Flórez, May 2018 Figure 3.3 Arpa Llanera……………………………………………………………..…..…28 Figure 3.4 Capachos/Maracas llaneras…………………………………………….….… 29 Figure 3.5 Conjunto llanero………………………………………………………………..30 Figure 3.6 Excerpt of joropo Alma llanera by Pedro Elías Gutiérrez…………………. 31 Figure 3.7 Excerpt of joropo, Suite Criolla by Alfredo Mejía…………………………… 31 Figure 3.8 Excerpt of Joropo, Suite en 3/4 by José Rebelo……………………………..…32 Figure 3.9 Rhythmical structure of the joropo written in ¾……………………………….33 Figure 3.10 Excerpt of joropo, Suite Criolla by Alfredo Mejía……………………………33 Figure 3.11 Rhythmical structure of the joropo written in ¾…………………………… 34 Figure 3.12 Excerpt of joropo, Suite en ¾ by José Rebelo…………………………...……35 Figure 4 Colombian geographical map, Atlantic Region………...………………...………36 Figure 4.1 Gaita.macho and Gaita hembra………………………………………………. 37 Figure 4.2 Flute or Caña de millo………………………………………………………... 38 Figure 4.3 Alegre and llamador…………………………………………………….…… 39 Figure 4.4 Tambora………………………………………………………………….…….40 Figure 4.5 Maracon or Maraca costeña………………………………...…………..….… 41 Figure 4.6 Guacho, guache, or Guasá…………………………………..…………………41 Figure 4.7 Guacharaca, Güiro, and Güira……………………………………………...…42 Figure 4.8 Excerpt of Fiesta de Negritos, Porro by Luis Eduardo (Lucho) Bermudez …. 44 Figure 4.9 Excerpt of porro paisa by Alfredo Mejía………………………………..……..45 Figure 4.10 Bass pattern in porro……...………………………………………………… 46 Figure 4.11 Excerpt of porro paisa by Alfredo Mejía………………………………...… 46 vi Texas Tech University, Santiago Baena Flórez, May 2018 INTRODUCTION Colombian music has been affected by a number of musical and regional influences throughout its history. Elements such as geographic region, ethnic dance and song styles, and the assimilation of various European and African influences have shaped the evolution and musical developments throughout the past two centuries. These developments have had a significant impact on modern Colombian composers as they try to create new music while maintaining a sense of traditions of folk music and Colombian culture. Although the musical life in Colombia is rich and diverse, there is very little significant art music written for more established classical music ensembles.