Persistent Link:
http://hdl.handle.net/10150/293561
Title:
Improvisation in Jíbaro Music: A Structural Analysis
Author:
Bofill-Calero, Jaime Oscar
Issue Date:
2013
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:
Improvisation is regarded as the most sublime element in the jíbaro folk music tradition of Puerto Rico. This tradition originated by the jíbaro, the simple rural farmer of Puerto Rico's heartland, involves the complicated art of improvising in décima, a ten-line poetic form, as well as improvisation of melodic lines played on the cuatro, a small guitar-like instrument. Since jíbaro improvisation is an art that is transmitted orally and involves a seemingly spontaneous act, it might seem odd to talk about a theory of improvisation within this style of music. My ethnographic research however has revealed that improvisation in jíbaro music is actually a highly structured performance practice and involves an informal theory that is based on the knowledge of archetypal patterns that generate and organize jíbaro improvisations.Recent theories of music which establish parallels between music, language, and cognition (Lerdhal and Jackendoff; Clarke; Gjerdingen) have lead me to believe that improvisation in jíbaro music is generated by the combination of archetypal patterns that create a musical syntax. These patterns are stored in minds of jíbaro performers as cognitive schemas. My study is also based on the work of Puerto Rican scholars Luis M. Alvarez and Angel Quintero who have identified African rhythmic patterns as the generative musical source in many styles of Puerto Rican folk music. By combining theories of music and ethnographic methods, this paper will provide a greater understanding of orally transmitted cultural expressions, which utilize improvisation, as well as give insight to the cognitive processes that shape this performance practice.
Type:
text; Electronic Dissertation
Keywords:
jíbaro music; music improvisation; Puerto Rican folk music; seis; Music; décima
Degree Name:
Ph.D.
Degree Level:
doctoral
Degree Program:
Graduate College; Music
Degree Grantor:
University of Arizona
Advisor:
Sturman, Janet

Full metadata record

DC FieldValue Language
dc.language.isoenen_US
dc.titleImprovisation in Jíbaro Music: A Structural Analysisen_US
dc.creatorBofill-Calero, Jaime Oscaren_US
dc.contributor.authorBofill-Calero, Jaime Oscaren_US
dc.date.issued2013-
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.abstractImprovisation is regarded as the most sublime element in the jíbaro folk music tradition of Puerto Rico. This tradition originated by the jíbaro, the simple rural farmer of Puerto Rico's heartland, involves the complicated art of improvising in décima, a ten-line poetic form, as well as improvisation of melodic lines played on the cuatro, a small guitar-like instrument. Since jíbaro improvisation is an art that is transmitted orally and involves a seemingly spontaneous act, it might seem odd to talk about a theory of improvisation within this style of music. My ethnographic research however has revealed that improvisation in jíbaro music is actually a highly structured performance practice and involves an informal theory that is based on the knowledge of archetypal patterns that generate and organize jíbaro improvisations.Recent theories of music which establish parallels between music, language, and cognition (Lerdhal and Jackendoff; Clarke; Gjerdingen) have lead me to believe that improvisation in jíbaro music is generated by the combination of archetypal patterns that create a musical syntax. These patterns are stored in minds of jíbaro performers as cognitive schemas. My study is also based on the work of Puerto Rican scholars Luis M. Alvarez and Angel Quintero who have identified African rhythmic patterns as the generative musical source in many styles of Puerto Rican folk music. By combining theories of music and ethnographic methods, this paper will provide a greater understanding of orally transmitted cultural expressions, which utilize improvisation, as well as give insight to the cognitive processes that shape this performance practice.en_US
dc.typetexten_US
dc.typeElectronic Dissertationen_US
dc.subjectjíbaro musicen_US
dc.subjectmusic improvisationen_US
dc.subjectPuerto Rican folk musicen_US
dc.subjectseisen_US
dc.subjectMusicen_US
dc.subjectdécimaen_US
thesis.degree.namePh.D.en_US
thesis.degree.leveldoctoralen_US
thesis.degree.disciplineGraduate Collegeen_US
thesis.degree.disciplineMusicen_US
thesis.degree.grantorUniversity of Arizonaen_US
dc.contributor.advisorSturman, Janeten_US
dc.contributor.committeememberTraut, Donen_US
dc.contributor.committeememberPomeroy, Boyden_US
dc.contributor.committeememberSturman, Janeten_US
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