Trained Abroad: A History of Multiculturalism in Costa Rican Vocal Music Item Type text; Electronic Dissertation Authors Ortiz Castro, Ivette Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 23/09/2021 10:27:44 Link to Item http://hdl.handle.net/10150/621142 TRAINED ABROAD: A HISTORY OF MULTICULTURALISM IN COSTA RICAN VOCAL MUSIC by Ivette Ortiz Castro _______________________________ A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2016 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Ivette Ortiz-Castro, titled Trained abroad: a history of multiculturalism in Costa Rican vocal music and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. ____________________________________________________________________________ Date: 07/18/16 Kristin Dauphinais ____________________________________________________________________________ Date: 07/18/16 Jay Rosenblatt ____________________________________________________________________________ Date: 07/18/16 William Andrew Stuckey Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. ____________________________________________________________________________ Date: 07/18/16 Document Director: Kristin Dauphinais 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of the requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. SIGNED: Ivette Ortiz Castro 4 ACKNOWLEDGEMENTS This document is the result of a collaboration of many accounts. Though it is not possible acknowledge everyone involved in the process, I would like to express my gratitude to the following: To my professor and advisor Kristin Dauphinais. To the members of my advisory committee: Dr. Jay Rosenblatt, Dr. Andrew Stuckey, Professors Danny Gurwin and Jessica Maerz. To composers and friends Eddie Mora Bermúdez and Marvin Camacho Villegas whose music is an inspiration. To M.M Ernesto Rodríguez and Dr. Manuel Matarrita for their support. To the Music National Archive of the University of Costa Rica. To the University of Costa Rica for its support during my graduate studies. To the Opera Guild of Southern Arizona for their support in my career as a singer. Additionally: To my friends from the First United Methodist Church in Tucson for all their support and love during four years with them. To Meily Mendez for her guidance and friendship. To Meredith Skeath for her kindness, her advice and her writing skills. To Leah Williams for her friendship. To Billy and Eleanor Davenport who gave me a reason to keep going. Love is endless. To my dad who is a faithful participant in my life. Thank you for your words and your silence. To my mom and sisters, because they are everything to me. 5 DEDICATION To my girls, all for one and one for all, united we stand divided we fall. 6 TABLE OF CONTENTS LIST OF FIGURES……………………………………………………………………………………………….8 LIST OF MUSICAL EXAMPLES……………………………………………………………………………..9 ABSTRACT………………………………………………………………………………………………………..12 CHAPTER 1: INTRODUCTION…………………………………………………………………………….13 Purpose of study…………………………………………………………………………………….15 Thesis Statement……………………………………………………………………………………16 Review of Literature……………………………………………………………………………….16 CHAPTER 2: COSTA RICAN VOCAL MUSIC………………………………………………………….20 Music in the colonial period……………………………………………………………..……..20 Dirección Nacional de Bandas…………………………………………………………………21 Establishment of the National Conservatory…………………………………………….23 CHAPTER 3: JULIO FONSECA GUTIERREZ (1885-1950)……....…………………………..…25 A brief biography……………………………………………………………………………………25 Overview of musical characteristics…………………………………………………………26 Influence from Italy and Belgium……………………………………………………………..27 CHAPTER 4: DOLORES CASTEGNARO (1900-1979)………………………………....…………36 A brief biography……………………………………………………………………………………36 Influence from Italy and Mexico………………………………………………………………37 7 CHAPTER 5: THE NEW GENERATION OF COMPOSERS AND THE CASTELLA CONSERVATORY..........................................................................…………………………………….48 CHAPTER 6: EDDIE MORA BERMUDEZ (b. 1966)……...……………………………………50 Biography………………………………………………….……………………………………….50 Influence of Russia……………………………………………………………………………...51 CHAPTER 7: MARVIN CAMACHO VILLEGAS (b. 1965)…………………………....……......63 Biography……………………………………………………………………………………………63 Returning to Costa Rican voice……………………………………………………………..64 CHAPTER 8: CONCLUSION………………………………………………………………………………72 APPENDIX: TRANSLATION OF POEMS…………………………………………………………….74 REFERENCES…………………………………………………………………………………………………78 8 LIST OF FIGURES Figure 1. Rondo form in Gitana tu boca es un clavel………………………………………….…….43 Figure 2. Poetry translation from musical examples 24-26…………………………………..57 9 LIST OF MUSICAL EXAMPLES Musical example 1. Amor ti chiedo, mm. 19-22, mix of Bolero rhythm and Italian text ..............................................................................................……………………………………………….….....28 Musical example 2. Bolero pattern……………………………………………………………………...29 Musical example 3. Fonseca, Amor ti chiedo, mm. 15-18. Contrasting short and syncopated rhythm in the piano part with the legato and long phrases in the vocal part.................................................................................................................................................………….29 Musical example 4. Fonseca, Amor ti chiedo, vocal range…………………………………...…30 Musical example 5. Cadential material compared to Bellini songs………………...………30 Musical example 6. Fonseca, Romanza, mm. 9-10. Close relation between poem and music. Translation: nothing now remains on the branches.......................................….…...32 Musical example 7. Fonseca, Romanza, mm. 18-25. Change in the piano accompaniment to represent the wind............................................................……………………..32 Musical example 8. Bellini, Almen se non poss’io, mm.26-27. Use of high notes as big finale in Italian Art Song...........................................................................................................……….33 Musical example 9. Bellini, Per pietà bell’idol mio, mm. 59-63……………..………………..33 Musical example 10. Bellini, Ma rendi pur contento, mm. 21-29…………………………….34 Musical example 11. Fonseca, Romanza, mm. 6-9. Beginning of A section…………..…35 Musical example 12. Fonseca, Romanza, mm. 18-21. Beginning of B section………....35 Musical example 13. Fonseca, Romanza, mm. 30-33. A1 section.............................……...35 Musical example 14. Rossini, La Promessa from Serate Musicali, mm. 1-14…..…….…37 Musical example 15. Rossini, La Serenata from Serate Musicali, mm. 9-11…….…..…..38 10 Musical example 16. Bellini, Sogno d’infanzia from 15 Composizioni di Camera, mm. 36-40.………………………..………………………………………………………………………………….…...38 Musical example 17. Bellini, Vaga Luna from 15 Composizioni di Camera, mm. 17-22. …………………………………………………………………………………………….…………………………....39 Musical example 18. Castegnaro, Lasciate amare, mm. 16-20………………………….……41 Musical example 19. Castegnaro, Lasciate amare, mm. 1-9...………………………………….41 Musical example 20. Castegnaro, Gitana tu boca es un clavel, mm. 1-5. Guitar-like embellishment in the use of triplets.……………………………………………………………………43 Musical example 21. Giménez, Sierras de Granada from the Zarzuela La Tempranica, mm. 1-6. Triplets as embellishment……………………….…………………………..………….....…44 Musical example 22. Moreno Tórroba, La Petenera from the Zarzuela La Marchenera, mm. 22-27…………………………………………………………………………………………………………44 Musical example 23. Nieto and Jiménez, Me llaman la primorosa from the Zarzuela El Barbero de Sevilla, mm. 24-27…………………………………………………………………….…..45 Musical example 24. A. Vives, Canción del Ruiseñor from Zarzuela Doña Francisquita, mm. 9-12, mm. 34-36. Use of B minor for A section……………………………….……....…….46 Musical example 25. Pablo Luna, De España vengo from Zarzuela El niño judío, mm. 20-21, mm. 71-75. Use of parallel tonalities E major for A section and E minor for contrasting section………………………………………………………...………………………….….46, 47 Musical example 26. Mora, Ni aquí ni allá, mm. 1-10, tonal center E………..…………….53 11 Musical example 27. Mora, Ni aquí ni allá, mm. 184-190, evidence of peremennost ………………………………………………………………………………….………………………………………55