| Name: | Description: | Size: | Format: | |
|---|---|---|---|---|
| 1.92 MB | Adobe PDF | |||
| 1.19 MB | Unknown |
Authors
Advisor(s)
Abstract(s)
En la segunda mitad del s.XVIII surge en Madrid un género músico-teatral para deleitar al público en los intermedios de las comedias, autos sacramentales, etc. Tal fue su repercusión social que existe un acervo musical numeroso repartido principalmente entre la Bioblioteca Histórica de Madrid y la Biblioteca Real de dicha ciudad.
Las tonadillas podrían ser interpretadas con uno o más personajes. Nuestro estudio se centrará en las denominadas tonadillas a solo, en donde recae el peso sobre la única intérprete de la misma. Las habilidades como la danza, las castañuelas o el texto hablado junto con una personalidad elocuente determinan el éxito de la interpretación y forman parte de las tonadilleras o majas más prestigiosas de esta época. Este trabajo contornará todos estos elementos clave para la interpretación de este género así como la transcripción y edición crítica de las Tonadillas a solo del Gallego, La Rifa y Las Musicas para su posterior puesta en escena.
In the second half of the eighteenth century a musician-theater genre emerged in Madrid to delight the public in the midst of comedies, “autos sacramentales”, etc. Such was its social repercussion that there is a large musical collection distributed mainly between the Historical Library of Madrid and the Royal Library of said city. The tonadillas could be interpreted with one or more personages. Our study will focus on the so-called solo tonadillas, where weight falls on the only performer of the same. Skills such as dance, castanets or spoken text along with an eloquent personality determine the success of the performance and are part of the most prestigious tonadilleras or majas of this era. This work will bypass all these key elements for the interpretation of this genre as well as the transcription and critical edition of the Tonadillas a solo del Gallego, La Rifa and Las Musicas for later staging.
In the second half of the eighteenth century a musician-theater genre emerged in Madrid to delight the public in the midst of comedies, “autos sacramentales”, etc. Such was its social repercussion that there is a large musical collection distributed mainly between the Historical Library of Madrid and the Royal Library of said city. The tonadillas could be interpreted with one or more personages. Our study will focus on the so-called solo tonadillas, where weight falls on the only performer of the same. Skills such as dance, castanets or spoken text along with an eloquent personality determine the success of the performance and are part of the most prestigious tonadilleras or majas of this era. This work will bypass all these key elements for the interpretation of this genre as well as the transcription and critical edition of the Tonadillas a solo del Gallego, La Rifa and Las Musicas for later staging.
Description
Keywords
Tonadilla escénica Género Músico-teatral Tonadillera Maja Madrid, s.XVIII Genre Musician-theater