The piano works of Joaquin Rodrigo: An evaluationof social influences and compositional style

Persistent Link:
http://hdl.handle.net/10150/289715
Title:
The piano works of Joaquin Rodrigo: An evaluationof social influences and compositional style
Author:
Jones, Dena Kay
Issue Date:
2001
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:
This document represents the investigative research on the solo piano music of Joaquin Rodrigo, a repertoire that dates from 1923 to 1987. A biographical sketch of the composer precedes a general overview of his twenty-three solo piano works. Discussion of musical trends that influenced Rodrigo provides a context for tracing his development as a composer. Analytic descriptions of two of Rodrigo's early piano works, Suite para piano of 1923 and the Preludio al gallo mananero of 1926, demonstrate how Rodrigo incorporated early 20th century compositional techniques into his own style. Although Rodrigo alludes to Spanish nationalistic ideas in his music prior to 1931, his predominate musical language is more congruent with European compositional trends, popular during this period. It is in the Serenata espanola of 1931 where the use of Spanish folklore becomes more pronounced in Rodrigo's musical language. Descriptive analyses of the Serenata espanola of 1931 and his Sonatas de Castilla, con toccata of 1950 demonstrate not only Rodrigo's mature language and fully developed pianistic style, but most importantly his use of folklorismo--incorporation of folklore, music, and culture. Although similar in certain aspects to the Spanish traditional style of Albeniz, Granados, Falla, and Turina, Rodrigo's approach is also distinctive. In order to appreciate the similarities and contrasts between the traditional uses of folklorismo and Rodrigo's use of folklorismo, a brief historical overview of 20th century Spanish Nationalism ensues. Rodrigo's contributions derive from a successful synthesis of Nationalism and unique pianistic style.
Type:
text; Dissertation-Reproduction (electronic)
Keywords:
Folklore.; Music.
Degree Name:
D.M.A.
Degree Level:
doctoral
Degree Program:
Graduate College; Music and Dance
Degree Grantor:
University of Arizona
Advisor:
Fernandez, Noehema

Full metadata record

DC FieldValue Language
dc.language.isoen_USen_US
dc.titleThe piano works of Joaquin Rodrigo: An evaluationof social influences and compositional styleen_US
dc.creatorJones, Dena Kayen_US
dc.contributor.authorJones, Dena Kayen_US
dc.date.issued2001en_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.abstractThis document represents the investigative research on the solo piano music of Joaquin Rodrigo, a repertoire that dates from 1923 to 1987. A biographical sketch of the composer precedes a general overview of his twenty-three solo piano works. Discussion of musical trends that influenced Rodrigo provides a context for tracing his development as a composer. Analytic descriptions of two of Rodrigo's early piano works, Suite para piano of 1923 and the Preludio al gallo mananero of 1926, demonstrate how Rodrigo incorporated early 20th century compositional techniques into his own style. Although Rodrigo alludes to Spanish nationalistic ideas in his music prior to 1931, his predominate musical language is more congruent with European compositional trends, popular during this period. It is in the Serenata espanola of 1931 where the use of Spanish folklore becomes more pronounced in Rodrigo's musical language. Descriptive analyses of the Serenata espanola of 1931 and his Sonatas de Castilla, con toccata of 1950 demonstrate not only Rodrigo's mature language and fully developed pianistic style, but most importantly his use of folklorismo--incorporation of folklore, music, and culture. Although similar in certain aspects to the Spanish traditional style of Albeniz, Granados, Falla, and Turina, Rodrigo's approach is also distinctive. In order to appreciate the similarities and contrasts between the traditional uses of folklorismo and Rodrigo's use of folklorismo, a brief historical overview of 20th century Spanish Nationalism ensues. Rodrigo's contributions derive from a successful synthesis of Nationalism and unique pianistic style.en_US
dc.typetexten_US
dc.typeDissertation-Reproduction (electronic)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.advisorFernandez, Noehemaen_US
dc.identifier.proquest3026572en_US
dc.identifier.bibrecord.b42177649en_US
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