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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.

METODOLOGIA La principal metodologia empleada para elaborar esta tesis ha sido la consulta de diferentes archivos, bibliografia y aportar documentacion desconocida, especialmente cartas personales, fotografias, grabaciones y partituras. Tambien, se han empleado esquemas, tablas y pies de pagina como apoyo al texto. Por otro lado, se ha incluido un anexo final con los documentos ineditos y un catalogo con las partituras de la compositora. OBJETIVOS Se ha intentado dar respuesta al principal objetivo de esta tesis: saber cual fue la contribucion de Carmen Ibanez en aspectos de genero, musicologicos, pedagogicos, educativos, interpretativos y compositivos durante la primera mitad del siglo XX en Espana. CONCLUSIONES Carmen Ibanez Ibanez nacio en Mula, Murcia, en 1895. Comenzo a estudiar piano en su localidad natal, y posteriormente amplio sus estudios en Murcia y Madrid, con algunos de los profesores mas representativos de la musica espanola de principios del siglo XX. A pesar de que gano un premio de piano y consiguio tocar para el publico, no pudo dedicarse a la interpretacion de este instrumento por las dificultades existentes hacia su sexo y, al igual que la mayoria de las mujeres de su tiempo, opto por dedicarse a la docencia. Tras aprobar la oposicion de profesora de musica en la Escuela Normal de Albacete se afinco en esta ciudad y comenzo a escribir en la prensa sobre aspectos musicales. En esta institucion experimento con nuevas metodologias educativas, donde puso en practica la herencia pedagogica de Pestalozzi y de la Escuela Nueva a traves de los libros pedagogicos que consiguio editar y de su novedoso invento, el Rigo-Movil, considerado como el objeto ideal para el aprendizaje intuitivo de la musica en los ninos y en aquellos con problemas de audicion, siendo estos metodos novedosos en nuestro pais. Tambien fue de las primeras mujeres espanolas en organizar y dirigir un orfeon compuesto por sus propios alumnos, que tenia una finalidad didactica y servia para difundir conocidas piezas del repertorio culto y popular a la sociedad albacetena. Por otro lado, Carmen Ibanez contribuyo a que se crease el Conservatorio de Musica de Albacete, y solicito trabajar como profesora de piano en este lugar, pero esta plaza fue asignada a un varon con menos meritos musicales que ella. En cuanto a su dedicacion hacia la composicion, se ha demostrado que siguio las tendencias chopinianas, mas otras nacionalistas y regionalistas, aprendidas de sus maestros, y las mezclo con sonoridades complejas propias del posromanticismo e, incluso, procedentes de la musica flamenca. Este estilo musical lo aplico en generos populares espanoles y en otros recien llegados a Espana, como el fox-trot. La mayoria de sus composiciones estuvieron firmadas bajo un pseudonimo, como hicieron muchas mujeres, para facilitar la difusion de sus obras. Acabada la Guerra Civil Espanola, las autoridades gubernamentales la eligieron como instructora y asesora musical de la Seccion Femenina de Albacete. Este hecho le facilito la recopilacion de la musica popular de esta provincia, con la intencion de crear un cancionero musical para evitar el olvido de este folclore, que se usase como recurso educativo y que algunas de sus piezas se empleasen en los concursos nacionales de musica organizados por esta institucion, donde los coros dirigidos por Carmen Ibanez ganaron en alguna de sus ediciones anuales. Su cancionero fue de los mas representativos de Espana y cuando lo finalizo se la premio con un galardon estatal. La compositora fallecio en 1962, y desde ese momento le rindieron continuos homenajes y se creo un premio nacional de piano con su nombre, especialmente porque se la considero como la musicologa y compositora mas representativa de Albacete. METHODOLOGY The principal methodology used to develop this thesis was the consultation of various archives, bibliography and the provision of unknown documentation, especially personal letters, photographs, recordings, and scores. Additionally, there are diagrams, tables, and footnotes to support the text, a final annex of unpublished documents, and a catalogue of the composer's scores. OBJECTIVES This thesis has tried to provide answers to its principal objective: to know what was the contribution of Carmen Ibanez in issues of gender, musicology, pedagogy, education, interpretation, and composition during the first half of the twentieth century in Spain. CONCLUSIONS Carmen Ibanez Ibanez was born in Mula, Murcia, in 1895. She began studying piano in her hometown, and later continued her studies in Murcia and Madrid under some of the most important professors of Spanish music in the beginnings of the 20th century. Even though she had won a piano award and performed in public, she could not pursue a career as a professional musician because of the difficulties faced by women and, like most women of her time, chose to devote herself to teaching. After passing the music teaching exams at the "Escuela Normal" of Albacete, she settled down in the city and started to write for the press about music. At this institution she experimented with new educational methods and put into practice the pedagogical heritage of Pestalozzi and the "New School" through the pedagogical books she edited and her new invention, the "Rigo-Movil", considered an ideal object for the intuitive learning of music by children and people with hearing problems. She also was one of the first Spanish women to organize and direct a choral society composed of her own students, which had a didactic purpose and served to spread known popular and cult pieces around Albacete. On the other hand, Carmen Ibanez contributed to the creation of the Music Conservatory of Albacete, and applied to be a professor of piano, only to have the job offered to a man with less musical merits than her. Regarding her dedication to composition, it has been demonstrated that she followed trends similar to Chopin, in addition to other nationalist and regionalist trends learned from her teachers, and mixed them with the complex sounds of post-romanticism and flamenco music. Ibanez applied this music style in popular Spanish genres and other newly arrived genres to Spain, like the fox-trot. Like many women did at that time, the majority of her compositions were signed under a pseudonym to facilitate the dissemination of her work. After the Spanish Civil War, the governmental authorities chose her to be a musical instructor and consultant for the "Seccion Femenina" of Albacete, an aspect that helped facilitate the collection of popular music in the province with the purpose of creating a songbook as a record of this folklore. Such a book was used as an educational resource and some of her pieces were used in national music competitions organized by this institutions, where choruses conducted by Carmen Ibanez won in some of its annual editions. Her songbook was one of the most representative of Spain and when she finished it, she was given an award from the state government. The composer died in 1962, and since then, there have been continuous tributes to her music and a national piano award has been created in her name, especially because she is considered to be the most representative musicologist and compositor in Albacete.

espanolUna de las caracteristicas mas destacables del compositor espanol Jose Maria Sanchez-Verdu (Algeciras, 1968) es la riqueza de referencias culturales que plasma en sus obras. Musica, literatura, arquitectura, artes plasticas, pasado y presente confluyen en un unico objeto artistico, tejido como un palimpsesto sonoro en el que se superponen diversas capas de significacion. Dentro de esta concepcion intertextual, el dialogo que se establece con la musica del pasado es una de sus facetas mas interesantes. Un ejemplo que ilustra esa praxis creativa es su obra para orquesta sinfonica Paisajes del placer y de la culpa (2003). Esta pieza esta basada en un episodio de Hypnerotomachia Poliphili (Venecia, 1499) donde se narra un viaje a traves de unos peculiares jardines en los que la naturaleza es artificial y geometrica. Para traducir musicalmente estos extranos paisajes —tanto en su lado material como simbolico—, Sanchez-Verdu recurre a la musica de Gustav Mahler, en concreto su primera sinfonia. Mediante la aplicacion de una metodologia analitica elaborada a partir de elementos de la triparticion semiologica de Nattiez y del modelo de Burkholder sobre el campo del borrowing musical, el presente articulo desvela como se materializa esa huella de Mahler en la partitura y que clase de significados aporta a la narracion musical. EnglishOne of the most remarkable characteristics of the Spanish composer Jose Maria Sanchez-Verdu (Algeciras, 1968) is the richness of cultural references that he reflects in his works. Music, literature, architecture, plastic arts, past, and present converge in a single artistic object, woven like a palimpsest of sound in which several layers of meaning are superimposed. Within this intertextual conception, the dialogue established with the music of the past is one of its most interesting aspects. An example that illustrates that creative praxis is his work Paisajes del placer y de la culpa (2003) for symphony orchestra. This piece is based on one episode of Hypnerotomachia Poliphili (Venice, 1499), which narrates a journey through certain peculiar gardens in which nature is artificial and geometric. In order to musically translate these strange landscapes, both on their material and symbolic sides, Sanchez-Verdu resorts to Gustav Mahler’s music, specifically his first symphony. Through the application of an analytical methodology developed from elements of Nattiez’s tripartite semiology and Burkholder’s approach to the field of musical borrowing, this article reveals how that trace of Mahler is materialized in the score and what kind of meanings it brings to the musical narrative.

espanolEl repertorio musical cultivado en Hispanoamerica entre los siglos XVI y XIX ha sido objeto de importantes estudios y ediciones, desde aquellos fundacionales de Lange o Stevenson hasta nuestros dias. Sin embargo, y salvo excepciones, dichos trabajos adolecen con frecuencia de dos problemas cuando confrontan el repertorio sacro: 1) la omision del canto llano y 2) el descuido del contexto ceremonial. A estos problemas se anade un tercero no menor, y es que, por lo general, los trabajos dedicados al periodo colonial no abordan el periodo republicano y viceversa, pese a que, desde el punto de vista eclesiastico, tanto el marco administrativo como muchas de las practicas liturgicas tuvieron continuidad luego de la instauracion de las republicas. El presente trabajo pretende contribuir a la superacion de dichas carencias por medio de un estudio sobre las practicas musico-liturgicas de la Catedral de Santiago de Chile entre 1721 (ano de fundacion de una capilla musical permanente) y 1840 (momento en el que Santiago se eleva a la categoria de arquidiocesis y deja de depender del Arzobispado de Lima). Mas concretamente, el texto propone una reconstruccion en dos niveles: por un lado, recompone el calendario de ceremonias que incluian la participacion de la capilla de musica durante el ano liturgico; y por otro reconstituye, a modo de ejemplo, la procesion y misa del Domingo de Ramos, incluida la Pasion. Para el logro de estos objetivos, recurre a documentos historicos y fuentes musicales tanto impresas como manuscritas del periodo senalado EnglishThe musical repertoire cultivated in Latin America between the sixteenth and nineteenth centuries has been the focus of important studies and editions from the foundational works by Lange and Stevenson up until today. However, with a few exceptions, this work suffers from two basic problems in the ways it approaches or edits this repertoire: 1) the omission of plainchant, and 2) a lack of attention to its ceremonial background. A third, and not lesser point is that work about colonial music generally does not extend into the independence period, and vice versa, despite the fact that the ecclesiastical organization and liturgical practices did not change when the Spanish colonies became republics. This article addresses these problems by studying practices of liturgical music at the Cathedral of Santiago de Chile from 1721 (when a permanent music chapel was officially established) up to 1840 (the year in which the Santiago was promoted to an archdiocese and was no longer dependent on the metropolitan church of Lima). In order to do so, the authors propose a solution on two levels: on the one hand, we have reconstructed the calendar of feasts on which the music chapel took part, and on the other hand, we have recreated, as an example of the former, the liturgical music performed on Palm Sunday (procession and mass, including the Passion). For such a task, we have studied many primary musical and historical sources, both handwritten and printed, from the period.

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.