UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE INFLUENCE OF SALSA IN THE CELLO WORKS OF WILLIAM ORTIZ A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By PAULA SANTACRUZ ROSARIO Norman, Oklahoma 2019 THE INFLUENCE OF SALSA IN THE CELLO WORKS OF WILLIAM ORTIZ A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY THE COMMITTEE CONSISTING OF Dr. Jonathan Ruck, Chair Dr. Gregory Lee Dr. Eugene Enrico Dr. Frank Riddick Dr. Julie Ward © Copyright by PAULA SANTACRUZ ROSARIO 2019 All Rights Reserved. Acknowledgements I would like to thank composer William Ortiz for his interest and support throughout the creation of this document and for his permission to present my performance editions in it. Furthermore, I would like to thank my colleagues and friends John Rivera Picó and Verónica Quevedo for their work in the digitalization of Ortiz’s works for cello. These performance editions were achieved thanks to their help and dedication in support of my work. I would also like to express my gratitude to the committee members for guiding me through the process of completing my requirements for the Doctor of Musical Arts degree. It has been a great learning experience, and I can only hope to help my students in the same way you have all helped me throughout my years at The University of Oklahoma. I am forever grateful to my friends and family for believing in me and always being there throughout my critical moments of self-doubt or plain tiredness. Thanks to all who believed in this project and its relevance. I hope it is only but a start in the recognition of Puerto Rican composers and their works for cello. iv Table of Contents Acknowledgements .................................................................................................... iv Table of Contents ........................................................................................................ v Abstract ..................................................................................................................... vii Illustrations .............................................................................................................. viii I. INTRODUCTION ....................................................................................................... 1 Statement of Purpose .................................................................................................. 1 Need for the Study ...................................................................................................... 3 Scope and Limitations................................................................................................. 5 Procedures ................................................................................................................... 5 Outline of the Proposed Study .................................................................................... 7 II. REVIEW OF LITERATURE ................................................................................... 8 William Ortiz .............................................................................................................. 8 Writings by Ortiz ........................................................................................................ 9 Puerto Rico: The Colonial Complexity..................................................................... 12 Latin American Music for Cello ............................................................................... 15 Salsa ....................................................................................................................... 18 III. SALSA: HISTORICAL BACKGROUND AND STYLISTIC ELEMENTS ... 21 Historical overview ................................................................................................... 21 Defining salsa............................................................................................................ 30 Salsa as a Term ......................................................................................................... 33 Cuban and Puerto Rican Influences .......................................................................... 36 Salsa Today ............................................................................................................... 41 v Elements of Salsa ...................................................................................................... 42 IV. SONEO DE LA 22 AND RUMBO: INFLUENCES OF SALSA ......................... 61 Introduction to Rumbo and Soneo de la 22 .............................................................. 61 Analysis of Ortiz’s Works for Cello: Influences of Salsa......................................... 64 Selected Passages from Rumbo and Soneo de la 22 ................................................. 92 V. PERFORMANCE EDITION AND NOTES ON PERFORMING .................... 101 Rumbo ..................................................................................................................... 101 Soneo de la 22 ......................................................................................................... 107 The Influence of Salsa in Performance ................................................................... 111 VI.CONCLUSIONS .................................................................................................... 113 APPENDIX 1 ............................................................................................................... 117 APPENDIX 2 ............................................................................................................... 119 APPENDIX 3 ............................................................................................................... 135 APPENDIX 4 ............................................................................................................... 140 GLOSSARY OF SALSA TERMINOLOGY ............................................................ 144 BIBLIOGRAPHY ....................................................................................................... 149 Books ..................................................................................................................... 149 Articles from Periodicals ........................................................................................ 151 Dissertations ............................................................................................................ 151 Dictionaries and Encyclopedias .............................................................................. 151 Internet Resources ................................................................................................... 152 Music Scores ........................................................................................................... 152 Miscellaneous ......................................................................................................... 152 vi Abstract Music for cello by Puerto Rican composers is widely unknown. Strikingly, it is barely known and recognized by Puerto Rican cellists themselves. This document introduces the cello repertoire of Puerto Rican composer William Ortiz to a larger number of performers, educators, and scholars. While Ortiz was raised and educated in the United States, his Puerto Rican identity plays a fundamental role in his music. This is evident in his interest to connect his experiences as a Nuyorican in the 1950s and 1960s to his compositional aesthetics. Ortiz’s works for cello are examined by identifying stylistic influences of salsa and the way in which the composer incorporates them into his music. This document begins by questioning the place of Puerto Rican music and musicians in a complex socio-political context related to the island’s colonial state. In reviewing Ortiz’s works for cello, focus is given to the rich rhythmic vocabulary he explores in his compositions. Attention is brought to the importance of salsa in defining the composer’s compositional aesthetics. In the second part of the document, other compositional elements are examined in each work. The document concludes with a transcription of the interview conducted with Ortiz. vii Illustrations Figures Figure 1. Standard form of a salsa arrangement. .............................................................. 44 Figure 2. Basic percussion patterns during the verse. ....................................................... 46 Figure 3. Basic percussion patterns during the montunos. ............................................... 46 Figure 4. Piano guajeo and bass’ tumbao. ........................................................................ 49 Figure 5. Clave 2-3 and 3-2. ............................................................................................. 54 Figure 6. Cáscara. ............................................................................................................. 55 Figure 7. Seven basic rhythmic cells. ............................................................................... 56 Figure 8. Two-bar pattern (cinquillo). .............................................................................. 57 Figure 9. Five-note grouping pattern or cinquillo. ............................................................ 57 Figure 10. Three-note grouping or tresillo. ....................................................................... 57 Figure 11. Rumbo: Rhythmic motive a............................................................................. 65 Figure 12. Rumbo: