Twentieth-century Spanish composers for the harp: A study of Spanish folk elements in selected solo harp works of Jesus Guridi, Gerardo Gombau and Victorino Echevarria

Persistent Link:
http://hdl.handle.net/10150/284326
Title:
Twentieth-century Spanish composers for the harp: A study of Spanish folk elements in selected solo harp works of Jesus Guridi, Gerardo Gombau and Victorino Echevarria
Author:
Rodriguez-Rios, Lizary
Issue Date:
2004
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 document is to examine the Spanish folk elements used in original compositions for the harp written by the Spanish composers Jesus Guridi, Gerardo Gombau and Victorino Echevarria. The document demonstrates that the harp is particularly suitable to convey the essence of the rhythmic, harmonic and melodic elements of traditional Spanish folk music. Spanish composers, particularly Jesus Guridi (Viejo Zortzico) Gerardo Gombau (Apunte Betico) and Victorino Echevarria (Capricho Andaluz), adapted elements of Spanish folk music such as cante jondo to create original nationalistic music that is idiomatic for the harp, resulting in effective concert pieces for the instrument's repertoire. The first chapter is devoted to the arrival and development of the harp in Spain. The second chapter discusses a history of the harp department at the Real Conservatorio Superior de Musica of Madrid which was established in 1830. This chapter also includes biographical and historical information about harp professors that taught there and the role that this conservatory played in developing distinctive Spanish compositions for the modern harp. Chapter three will discuss the harpists who inspired twenty-century Spanish composers. The subsequent three chapters will cover Jesus Guridi's, Gerardo Gombaus and Victorino Echevarria's lives, influences, and an analysis of their harp compositions: Viejo Zortzico , Apunte Betico and Capricho Andaluz respectively, highlight the Spanish folk elements used, and how composers incorporated these elements into their compositions to create a distinctive sound and fascinating show pieces for the concert harpist.
Type:
text; Dissertation-Reproduction (electronic)
Keywords:
Biography.; Folklore.; Music.
Degree Name:
D.M.A.
Degree Level:
doctoral
Degree Program:
Graduate College; Music and Dance
Degree Grantor:
University of Arizona
Advisor:
McLaughlin, Carrol

Full metadata record

DC FieldValue Language
dc.language.isoen_USen_US
dc.titleTwentieth-century Spanish composers for the harp: A study of Spanish folk elements in selected solo harp works of Jesus Guridi, Gerardo Gombau and Victorino Echevarriaen_US
dc.creatorRodriguez-Rios, Lizaryen_US
dc.contributor.authorRodriguez-Rios, Lizaryen_US
dc.date.issued2004en_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 document is to examine the Spanish folk elements used in original compositions for the harp written by the Spanish composers Jesus Guridi, Gerardo Gombau and Victorino Echevarria. The document demonstrates that the harp is particularly suitable to convey the essence of the rhythmic, harmonic and melodic elements of traditional Spanish folk music. Spanish composers, particularly Jesus Guridi (Viejo Zortzico) Gerardo Gombau (Apunte Betico) and Victorino Echevarria (Capricho Andaluz), adapted elements of Spanish folk music such as cante jondo to create original nationalistic music that is idiomatic for the harp, resulting in effective concert pieces for the instrument's repertoire. The first chapter is devoted to the arrival and development of the harp in Spain. The second chapter discusses a history of the harp department at the Real Conservatorio Superior de Musica of Madrid which was established in 1830. This chapter also includes biographical and historical information about harp professors that taught there and the role that this conservatory played in developing distinctive Spanish compositions for the modern harp. Chapter three will discuss the harpists who inspired twenty-century Spanish composers. The subsequent three chapters will cover Jesus Guridi's, Gerardo Gombaus and Victorino Echevarria's lives, influences, and an analysis of their harp compositions: Viejo Zortzico , Apunte Betico and Capricho Andaluz respectively, highlight the Spanish folk elements used, and how composers incorporated these elements into their compositions to create a distinctive sound and fascinating show pieces for the concert harpist.en_US
dc.typetexten_US
dc.typeDissertation-Reproduction (electronic)en_US
dc.subjectBiography.en_US
dc.subjectFolklore.en_US
dc.subjectMusic.en_US
thesis.degree.nameD.M.A.en_US
thesis.degree.leveldoctoralen_US
thesis.degree.disciplineGraduate Collegeen_US
thesis.degree.disciplineMusic and Danceen_US
thesis.degree.grantorUniversity of Arizonaen_US
dc.contributor.advisorMcLaughlin, Carrolen_US
dc.identifier.proquest3177536en_US
dc.identifier.bibrecord.b49001267en_US
All Items in UA Campus Repository are protected by copyright, with all rights reserved, unless otherwise indicated.