Contemporary Mexican Classical Guitar Music at the Turn of the Twenty-First Century: Selected Compositions 1988-2003

Persistent Link:
http://hdl.handle.net/10150/193775
Title:
Contemporary Mexican Classical Guitar Music at the Turn of the Twenty-First Century: Selected Compositions 1988-2003
Author:
Lazo, Alejandro
Issue Date:
2008
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.
Abstract:
The purpose of this dissertation is to discover if Arturo Fuentes’ Primer Interludio incorporates a number of stylistic features typical of guitar music written by Mexican contemporaries from 1988 to 2003. These features include the use of complex musical notation, highly disjunct melodic contour, extended techniques, innovative timbres, rhythmic complexity, rapidly changing dynamics, atonality, percussive effects and repetitive rhythmic and/or melodic cells. As a point of departure a list of guitar works by representative Mexican composers was compiled. From this list the following works were chosen since they exemplify the stylistic trends I wish to highlight: Tres Instantáneas (1988) by Manuel Enríquez, Sonata (1992) and Elegía 2 (2000) by Hebert Vázquez, Haikus (2000) by Ana Lara, Sydolira (2000) by Gabriela Ortíz, and Impello (2003) by Francisco Javier González Compeán. By comparative analysis, I have associated certain stylistic features between these contemporary Mexican composers. I have been able to get a glimpse of some of the underlying stylistic unities found in these guitar compositions that seem rather separate. There are a number of stylistic features common to all of the composers discussed herein as well as few characteristics where only some of them converge. However, this research shows that Arturo Fuentes’ Primer Interludio is representative of several stylistic features commonly found in guitar music written by contemporary Mexican composers. There is a vast variety of Mexican guitar works created in recent years that remain unknown to today’s classical music world, academic community and general public. Mexico possesses a large repertoire of guitar works, music for solo guitar and guitar with a wide array of ensemble combinations from duets to large ensembles and guitar concertos. Many of these works would undoubtedly challenge a performer of the highest caliber. One of the purposes of this project is to promote contemporary Mexican classical guitar music. I hope to awake interest in this contemporary music style and encourage other musicians to include Mexican works in their concert repertoire.
Type:
text; Electronic Dissertation
Keywords:
Guitar; Mexican Music; Contemporary Music; New Music; Mexican Composers; Alejandro Lazo
Degree Name:
DMA
Degree Level:
doctoral
Degree Program:
Music; Graduate College
Degree Grantor:
University of Arizona
Advisor:
Patterson, Thomas; Weinberg, Norman
Committee Chair:
Patterson, Thomas; Weinberg, Norman

Full metadata record

DC FieldValue Language
dc.language.isoENen_US
dc.titleContemporary Mexican Classical Guitar Music at the Turn of the Twenty-First Century: Selected Compositions 1988-2003en_US
dc.creatorLazo, Alejandroen_US
dc.contributor.authorLazo, Alejandroen_US
dc.date.issued2008en_US
dc.publisherThe University of Arizona.en_US
dc.rightsCopyright © 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.en_US
dc.description.abstractThe purpose of this dissertation is to discover if Arturo Fuentes’ Primer Interludio incorporates a number of stylistic features typical of guitar music written by Mexican contemporaries from 1988 to 2003. These features include the use of complex musical notation, highly disjunct melodic contour, extended techniques, innovative timbres, rhythmic complexity, rapidly changing dynamics, atonality, percussive effects and repetitive rhythmic and/or melodic cells. As a point of departure a list of guitar works by representative Mexican composers was compiled. From this list the following works were chosen since they exemplify the stylistic trends I wish to highlight: Tres Instantáneas (1988) by Manuel Enríquez, Sonata (1992) and Elegía 2 (2000) by Hebert Vázquez, Haikus (2000) by Ana Lara, Sydolira (2000) by Gabriela Ortíz, and Impello (2003) by Francisco Javier González Compeán. By comparative analysis, I have associated certain stylistic features between these contemporary Mexican composers. I have been able to get a glimpse of some of the underlying stylistic unities found in these guitar compositions that seem rather separate. There are a number of stylistic features common to all of the composers discussed herein as well as few characteristics where only some of them converge. However, this research shows that Arturo Fuentes’ Primer Interludio is representative of several stylistic features commonly found in guitar music written by contemporary Mexican composers. There is a vast variety of Mexican guitar works created in recent years that remain unknown to today’s classical music world, academic community and general public. Mexico possesses a large repertoire of guitar works, music for solo guitar and guitar with a wide array of ensemble combinations from duets to large ensembles and guitar concertos. Many of these works would undoubtedly challenge a performer of the highest caliber. One of the purposes of this project is to promote contemporary Mexican classical guitar music. I hope to awake interest in this contemporary music style and encourage other musicians to include Mexican works in their concert repertoire.en_US
dc.typetexten_US
dc.typeElectronic Dissertationen_US
dc.subjectGuitaren_US
dc.subjectMexican Musicen_US
dc.subjectContemporary Musicen_US
dc.subjectNew Musicen_US
dc.subjectMexican Composersen_US
dc.subjectAlejandro Lazoen_US
thesis.degree.nameDMAen_US
thesis.degree.leveldoctoralen_US
thesis.degree.disciplineMusicen_US
thesis.degree.disciplineGraduate Collegeen_US
thesis.degree.grantorUniversity of Arizonaen_US
dc.contributor.advisorPatterson, Thomasen_US
dc.contributor.advisorWeinberg, Normanen_US
dc.contributor.chairPatterson, Thomasen_US
dc.contributor.chairWeinberg, Normanen_US
dc.contributor.committeememberRush, Marken_US
dc.identifier.proquest2931en_US
dc.identifier.oclc659749574en_US
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