Elementos de análisis musical macroformal. Un acercamiento a las relaciones entre movimientos del op. 25 de A. Ginastera
DOI:
https://doi.org/10.17230/ricercare.2015.3.1Keywords:
music theory, musical analysis, macroform, large dimensions, unity relationships, cyclical unity, symmetry, musical parts, Ginastera’s opusAbstract
This study intended to identify relationships of musical unity by applying our macroformal analysis to Ginastera´s Harp Concerto Op. 25. For this purpose, seven factors of music analysis were classified and applied to this work, which helped to identify significant musical unity relationships between the movements. The project is the result of a needed contribution to the apparent bibliographical scarcity on music macroanalysis theories and methodologies, a discipline that should allow an analytical approach to the possible relationships between the movements of a specific work. We hope that this work provide a complementary perspective to the traditional dimensions of the micro- and mesoformal practice and analysis.Downloads
References
Bach, J. S. (s.f.a). Concierto brandemburgués Nº 3. Versión de Freiburger Barockorchester; Hans Hadu-lla, director. Recuperado el 14 de abril de 2015, de: https://www.youtube.com/watch?v=QLj_gMBqHX8
Bach, J. S. (s.f.b). Concierto brandemburgués Nº 3. Versión de Gustav Leonhardt, Lamon. Recuperado el 14 de abril de 2015, de: http://eafit.naxosmusi-clibrary.com.ezproxy.eafit.edu.co/catalogue/item.asp?cid=886443571754
Bach, J. S. (s.f.c). Concierto brandemburgués Nº 3. Versión de Münchener Bach-Orchester; Karl Rich-ter, director. Recuperado el 14 de abril de 2015, de: https://youtu.be/Ehbar90jHz8?t=1957
Bas, J. (1947). Tratado de la forma musical. Buenos Aires: Ricordi Americana.
Burnett, H., & Nitzberg, R. (2007). Composition, chromaticism and the developmental process. A new theory of tonality. Aldershot: Ashgate
De La Motte, D. (1998). Armonía. Barcelona: Idea Books.
Epstein, D. (1980). Beyond Orpheus. Studies in musi-cal structure. Cambridge, MA: Oxford University Press.
Ginastera, A. (s.f.a). Concierto para arpa y orquesta, op. 25. Versión de Masters, Rache, Chandos. Recupe-rado el 9 de mayo de 2015, de: http://eafit.naxosmu-siclibrary.com.ezproxy.eafit.edu.co/catalogue/item.asp?cid=CHAN9094
RICERCARE38No. 03 Enero – Junio 2015Revista del Departamento de Música - Grupo de investigación en Estudios musicales
Ginastera, A. (s.f.b). Concierto para arpa y orques-ta, op. 25. Versión de Remy van Kesteren, arpa y la Orquesta de Cámara NJO; Clark Rundell, director. Recuperado el 9 de mayo de 2015, de: https://www.youtube.com/watch?v=UaM3p-_PYFE
Ginastera, A. (s.f.c). Concierto para arpa y orquesta, op. 25. Versión de Zoff, Jutta, Brilliant Classics . Recu-perado el 9 de mayo de 2015, de: http://eafit.naxos-musiclibrary.com.ezproxy.eafit.edu.co/catalogue/item.asp?cid=BC9438
Gómez-Vignes, M. (1979). La sinfonía. Colombia: Instituto colombiano de cultura (Colcultura).
Gómez-Vignes, M. (1988). Curso de formas musica-les (apuntes de clase sin editar). Medellín: Universi-dad EAFIT.
Grauer, V. A. (2000). A field theory of music se-miosis. Part one. Recuperado el 14 de abril de 2015, de:http://www.eunomios.org/contrib/grauer1/grauer1.html
Guzmán, A. (2011). Historia crítica de las teorías de la música y los modelos de análisis musical. Cali: Edito-rial Universidad del Valle.
Kühn, C. (1992). Tratado de la forma musical. Bar-celona: Labor.
Kühn, C. (2003). Historia de la composición musical en ejemplos comentados. Madrid: Idea Books.
LaRue, J. (2004). Análisis del estilo musical. Madrid: Idea Books.
Lendvai, E. (2003). Béla Bartók. Análisis de su músi-ca. Madrid: Idea Books.
Lester, Joel. (2005). Enfoques analíticos de la música del siglo XX. Madrid: Akal.
Percussive Arts Society, Argentina Chapter (s.f.). Rit-mos argentinos. Recuperado el 9 de mayo de 2015, de: http://community.pas.org/Argentina/ritmosargen
Taylor, B. (2010). Cyclic form, time, and memory in Mendelssohn’s A-minor quartet, op. 13. The Musical Quarterly, 93(1), 45-89.
Yepes Londoño, G. A. (2011). Cuatro teoremas sobre la música tonal. Cuadernos de investigación, 87. Me-dellín: Universidad EAFIT. Recuperado el 14 de mar-zo de 2015, de: http://publicaciones.eafit.edu.co/index.php/cuadernos-investigacion/article/down-load/1310/1181
Downloads
Published
Issue
Section
License
Authors who publish with this journal agree to the following terms:
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
