Search

espanolTras los fallecimientos de Jose de Nebra y de Francisco Corselli en 1768 y 1778, respectivamente, la actividad compositiva en la Real Capilla de Madrid estuvo a cargo de diferentes compositores que ocuparon los principales puestos musicales de la institucion, y en cuyas obras se manifiesta el cambio estilistico hacia la sonoridad del siglo XIX. Considerando la misa como genero liturgico por excelencia, el cual ha recibido especial atencion por parte de los compositores de musica religiosa, en el presente articulo se abordan las caracteristicas y las transformaciones experimentadas en las dimensiones, forma, plantilla orquestal, com- portamiento instrumental y planificacion tonal de las misas compuestas entre 1778 y 1833 en la Real Capilla por los compositores vinculados profesionalmente a ella: Antonio Ugena, Jose Teixidor, Jose Lidon, Francisco Federici, Ignacio Ducassi, Mariano Rodriguez de Ledesma, Lorenzo Nielfa y Francisco Andrevi. EnglishAfter the deaths of Jose de Nebra and Francisco Corselli in 1768 and 1778, respectively, different composers occupied the principal musical positions at the Royal Chapel of Madrid and were in charge of compositional activity. Their works reveal the stylistic change towards the sound of the 19th century. Considering the mass, which receives special attention by composers of religious music, as the liturgical genre par excellence, this paper addresses the characteristics and transformations in the dimen- sions, form, scoring, use of instruments, and tonal planning of masses composed for the Royal Chapel between 1778 and 1833 by composers with professional links to it: Antonio Ugena, Jose Teixidor, Jose Lidon, Francisco Federici, Ignacio Ducassi, Mariano Rodriguez de Ledesma, Lorenzo Nielfa, and Francisco Andrevi.

espanolVicente Salas Viu (1911-1967) fue un hombre de letras, quien despues de desa- rrollar una importante labor cultural en su nativa Espana, donde combatio en la Guerra Civil por el lado de la Republica, se exilio en 1939 en Chile, junto a muchos otros espanoles. A su llegada fue contratado por Domingo Santa Cruz Wilson, decano de la Facultad de Bellas Artes de la Universidad de Chile, donde desempeno importantes funciones en los periodos en que Domingo Santa Cruz Wilson (1932-1953), Alfonso Letelier Llona (1953-1962) y nuevamente Santa Cruz Wilson (1962-1968), ocuparon el cargo de Decano de la Facultad. El presente trabajo se enmarca en el primero de estos tres periodos y se focaliza en la contribucion e im- pulso de Vicente Salas Viu a la institucionalizacion de la investigacion musical bajo el alero de la Universidad de Chile, donde aporto un brillante intelecto, un fuerte espiritu de trabajo durante los veintiocho anos que residio en el pais, un profundo compromiso con la Universidad de Chile, un don de gentes, y una gran capacidad de organizacion. EnglishVicente Salas Viu (1911-1967) was a man of letters who, together with many other Spaniards, was exiled to Chile in 1939 after carrying out an important cultural work in his native Spain, where he had fought in the Civil War with the Republican Movement. Upon his arrival, he was hired by Domingo Santa Cruz Wilson, Dean of the Faculty of Fine Arts of the University of Chile and appointed to important posi- tions there during the decanal terms of Santa Cruz Wilson (1932-1953), Alfonso Letelier (1953-1962), and again Santa Cruz Wilson (1962-1968). This paper will consider the first of these periods, focusing on the contributions and stimulus that Vicente Salas Viu pro- vided to the institutionalization of music research under the aegis of the University of Chile, where he brought a bright intellect, winning manners, and a strong work ethic to his residency of twenty-eight years in the country, besides a deep commitment to the University of Chile with a great capacity for leadership and organization.

espanolLa banda de musica del Tercer Regimiento de Infanteria de Marina y su contribucion a la vida musical de Cartagena (1876-1931) Rosa M.a Gomez Diaz Resumen Esta Tesis Doctoral estudia la trayectoria musical de la banda del Tercer Regimiento de Infanteria de Marina de Cartagena y de sus musicos mayores entre 1876 y 1931, asi como su influencia en la vida social y cultural de Cartagena. La banda del Tercer Regimiento de Infanteria de Marina fue una agrupacion de referencia en la vida musical de Cartagena, muy conocida dentro y fuera de la ciudad portuaria por la amplitud y variedad de su repertorio, por su calidad interpretativa y por la versatilidad de sus musicos. En Cartagena, la banda destaco por sus conciertos publicos gratuitos regulares, que cumplieron una importante funcion sociocultural y educativa con la ciudadania. Ademas, la agrupacion fue pionera en la introduccion de repertorio europeo (Wagner, Liszt y Weber) en sus conciertos al aire libre. Particularmente interesantes fueron las recepciones y conciertos para personalidades militares y politicas extranjeras que hacian escala en el puerto de Cartagena y que eran recibidas y agasajadas con su musica. Fuera de Cartagena, la agrupacion actuo en conciertos y festejos de poblaciones de Murcia y provincias colindantes, en actos oficiales en Madrid y en San Fernando (Cadiz) asi como en certamenes musicales de ambito nacional e internacional, en los que obtuvo prestigiosos galardones. Para la realizacion de esta investigacion se ha consultado diversa documentacion manuscrita e impresa, principalmente de los Archivos Naval y Municipal (Cartagena) y Alvaro de Bazan (Viso del Marques). Igualmente importantes han sido las fuentes hemerograficas, sobre todo locales y regionales. Los procedimientos metodologicos utilizados han sido los propios de la investigacion musicologica de caracter historico. En su primera parte, la Tesis analiza la musica en los teatros y sociedades culturales mas relevantes, Radio Cartagena y los cafes-concierto. Tambien se estudian las principales festividades religiosas con musica, los conciertos al aire libre y la educacion musical en centros publicos y privados, civiles y militares. El estudio se completa con las agrupaciones militares y civiles coetaneas a la banda del Tercer Regimiento de Infanteria de Marina, que fueron todas las bandas del Ejercito destinadas en Cartagena a lo largo del periodo analizado, la banda de la Banda de Musica de la Casa de la Misericordia y los repetidos intentos de creacion de una Banda Municipal en Cartagena, asi como las orquestas teatrales, la Orquesta Sinfonica (1919) y la Orquesta de la Sociedad de Conciertos (1919-1922). La segunda parte de la Tesis establece el marco legislativo de las bandas de musica del Cuerpo de Infanteria de Marina y aborda la trayectoria musical propiamente dicha de la banda del Tercer Regimiento de Infanteria de Marina, analizando tambien la actividad profesional y las composiciones, algunas ineditas, de sus musicos mayores. Los Anexos aportan documentacion fundamental como los programas de los conciertos realizados al aire libre, los contratos de los musicos o el Reglamento de la primera asociacion de socorros mutuos de los musicos de la banda del Tercer Regimiento de Infanteria de Marina. EnglishThis Doctoral Thesis studies the musical trajectory of the 3rd Marine Infantry Regiment music band of Cartagena and its conductors between 1876 and 1931, as well as its influence on the social and cultural life of Cartagena. The 3rd Marine Infantry Regiment band was a group of reference in Cartagena's musical life, well known inside and outside the port city due to the scope and variety of its repertoire, its interpretive quality and the versatility of its musicians. In Cartagena, the band stood out for its frequent free public concerts, which fulfilled an important sociocultural and educational role with citizens. In addition, the band pioneered the introduction of European repertoire (Wagner, Liszt and Weber) in their outdoor concerts. The receptions and concerts for military personalities and foreign politicians that made stops in the port of Cartagena, whom were received and entertained with their music, are of particular interest. Outside of Cartagena, the band performed concerts and town celebrations in the Region of Murcia and neighbouring provinces, at official events in Madrid and San Fernando (Cadiz) as well as in national and international musical competitions, in which it won prestigious awards. Several handwritten and printed documents have been consulted to carry out this research, mainly from the Naval and Municipal Archives (Cartagena) and Alvaro de Bazan (Viso del Marques). The newspaper sources have been equally important, especially local and regional. The methodological procedures used have been those of historical musicological research. The first part of this Thesis analyses music in the most important theatres and cultural societies, Radio Cartagena and the cafes-concert. The main religious festivities with music, outdoor concerts and music education in public and private, civil and military centres, have also been taken into account and studied. The study is completed with the contemporary military and civil groups surrounding the 3rd Marine Infantry Regiment band, which were all Army bands destined in Cartagena throughout the analysed period, the Casa de la Misericordia music band and the repeated attempts to create a Municipal Band in Cartagena, as well as the theatrical orchestras, the Symphony Orchestra (1919) and the Concert Society Orchestra (1919-1922). The second part of the Thesis establishes the legislative framework of the bands of the Marine Infantry Corps and addresses the actual musical trajectory of the 3rd Marine Infantry Regiment band, also analysing professional activity and compositions, some of which are to date unpublished, of its conductors. The annexes provide fundamental documentation such as the programmes of the concerts performed outdoors, the musician's contracts or the regulation of the first mutual aid association of the musicians of the 3rd Marine Infantry Regiment band.

A lo largo de la historia de la musica, el folklore musical ha sido utilizado como fuente de inspiracion para la composicion, especialmente entre finales del siglo XIX y principios del XX. Dentro de este marco, Manuel de Falla y Bela Bartok son dos compositores de referencia, sin embargo las investigaciones pormenorizadas sobre la influencia del folklore en sus obras, especialmente de forma comparada, son escasas. El objeto de esta tesis es profundizar en el estudio de la influencia del folklore musical en Falla y Bartok, a traves de dos obras, la Fantasia Baetica y la Sonata para piano (1926), determinando la forma en la que dicha influencia se manifiesta y definiendo el alcance de la misma. En la primera parte de la tesis realizamos una contextualizacion y una primera aproximacion analitica. En la segunda parte abordamos la influencia del folklore segun refleje un componente mas cercano a la vertiente instrumental o a la vertiente vocal, asi como analizamos dos casos especiales de inspiracion. Como veremos a traves de este estudio, aunque cada obra se conciba dentro de un entorno musical diferente, la influencia de la fuente popular es comparable e igualmente profunda, lo que situa al folklore en una posicion fundamental para la comprension de estas dos obras y, refleja, a su vez, una vision compartida sobre esta fuente de inspiracion. Throughout music history, folk music has always been a source of inspiration for composers, especially in the period between the end of the 19th century and the beginning of the 20th century. Manuel de Falla and Bela Bartok are both remarkable composers of that era, however, detailed researches about the influence of folk music on their work are hard to find, not to mention a comparative analysis. The purpose of this thesis is to fill this void, by studying in detail the influence of folk music on Falla’s and Bartok’s two works, Fantasia Baetica and Piano Sonata (1926), with the aim of defining how this influence is manifesting itself and determining the scope of it. In the first part of the thesis we familiarize ourselves with the context and lay down an analytical approach. In the second part we study the influence of folk music, depending on how it reflects on a component, if it is closer to an instrumental side, or a vocal side, and we analyse two special cases of inspiration, as well. Although each of the works belong to a different musical environment, as we will see throughout this study, the influence of the popular source is equally comparable and deep, which means that understanding folk music is fundamental, in order to understand these two works, and at the same time, both works have a shared vision of this inspirational source.

After viewing the works of the Oaxacan and Huichol peoples of Mexico, my leaning toward bold color found its home through the production of upclose-and-personal portraits of women created with patterned pieces. The challenge of presenting women’s faces through individually painted pieces intrigued me. I began by painting strips of paper with a wide variety of patterns from which to choose. After doing some pencil drawings of women’s faces, rather than shading with pencil, I numbered each area with a value, 0–4. The zeroes were the lightest areas, growing progressively darker up to four. I then matched and cut the patterns from light to dark, gluing them together like a jigsaw puzzle. After the head was completed, it was glued on to the canvas as one piece. Other media such as beads, feathers, and pieces of freehand crossstitch were added to complete the collages. I want the viewer to consider each woman: where is she from? What stories does she tell? How has her life experience been like or different from the observer’s? Each woman portrayed comes from a different area of the world. How has her culture infl uenced what she sees? We get a sense of mystery and wonder from these portraits. There are clues to the origins of the women in the titles, but the full story of the women is to be completed through the imagination of the viewer. The intent of the portraits is to portray powerful women of many circumstances. Sometimes the subtlety of their stories is drowned out in the clamor of instant headlines, but if we pay attention, we will fi nd that they exist Like Royalty among Us.

Presented with "The Old System," adapted by Sarah Blacher Cohen, as "Saul Bellow's Stories on Stage" as a staged reading directed by Byrne Piven at the Chicago Writers' Bloc New Play Festival with support from the Dramatists Guild Fund, Inc. in 1996; at the New York State Writer's Institute, University at Albany, 1994; at the Barbara Streisand Festival in San Diego in 1995; as a staged reading at the Florida Atlantic University Library Series in 2000; at The Egg Center For the Performing Arts in Albany, New York, in a memorial performance directed by Rebecca Kaplan and sponsored by SUNY Hillel in 2005; as a staged reading at the Spertus Institute in Chicago and at the Milwaukee Public Library in 2005, both presentations directed by Sandy Shinner.

Pottery. Ceramics. Clay. I am interested in challenging myself within the boundaries of this material, but not in contempt or denial of its historical weight. I primarily use ceramic to extend its classical sensibility onto a more contemporary locale. It is not my intention to repeat traditions of potterymaking or blur the edges between art and craft. The fluidity of clay allows me to be playful in a manner that explores the contradictions and similarities between antiquity and current fashion.