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Abstract(s)
Todo aquel que se enfrenta por primera vez al estudio del violín barroco, o aquellos que se interesan desde el violín moderno u otros instrumentos por los conceptos de una interpretación históricamente informada del violín en los siglos XVII y XVIII, tarde o temprano han de acudir a los innumerables tratados y métodos en busca de la información precisa sobre los aspectos técnicos, musicales y estilísticos que conforman la imagen de la interpretación violinística de aquel momento histórico.
Fruto de la ausencia de una herramienta de búsqueda rápida y eficaz de contenidos en las fuentes primarias para violín, nace esta disertación para el Máster en Música – Interpretación Artística, cuya finalidad es la de categorizar y estudiar las fuentes en base a su naturaleza estructural (tratado o método, parte de otro trabajo u obra diversa), elaborar unas tablas de búsqueda y localización rápida de conceptos clave de la técnica e interpretación del violín incluidos en las fuentes objeto de estudio y así establecer este trabajo como una herramienta para dar a conocer las principales fuentes tratadísticas para violín de los siglos XVII y XVIII y facilitar el acceso a sus contenidos tanto a violinistas especialistas en el ámbito de la Música Antigua como a violinistas modernos que quisieran acercarse a una interpretación históricamente informada, deducir la existencia o ausencia de una metodología básica en la enseñanza del violín en la Europa de los siglos XVII y XVIII y proponer en base a esa información una idea de metodología para un estudiante actual de violín barroco.
Anyone who faces the study of the baroque violin for the first time, or those musicians who already play the modern violin or other instruments and who are interested in the concepts of an historically informed interpretation of the violin in the 17th and 18th centuries, sooner or later will have to make use to the endless treatises and methodes, looking for a precise information about the technical, musical and stilistic aspects that shape the violinistic performance image at that historical moment. The present dissertation, written for the Master in Music – Artistic Interpretation, arises from the lack of a quick and effective research tool of contents in the primary souces for the violin. The main purpose of this dissertation is to categorize and study the sources attending to their stuctural nature (treatise or method, part of another work or diverse work), then to develop a quick finding and locating tables of key words related to the technique and interpretation of the violin and included in the analyzed sources. Thus this work is settled as a tool to release the main violin historical sources from the 17th and 18th centuries and to ease the access to their contents to both violinists specialist in Ancient Music and modern violinists who are looking for an historically informed inerpretation approach. Finally, this dissertation aims to infer the existence or absence of a basic methodology in the violin tuition during the 17th and 18th centuries and, based on this information, propose a sort of methodological guide for the present-day baroque violin students.
Anyone who faces the study of the baroque violin for the first time, or those musicians who already play the modern violin or other instruments and who are interested in the concepts of an historically informed interpretation of the violin in the 17th and 18th centuries, sooner or later will have to make use to the endless treatises and methodes, looking for a precise information about the technical, musical and stilistic aspects that shape the violinistic performance image at that historical moment. The present dissertation, written for the Master in Music – Artistic Interpretation, arises from the lack of a quick and effective research tool of contents in the primary souces for the violin. The main purpose of this dissertation is to categorize and study the sources attending to their stuctural nature (treatise or method, part of another work or diverse work), then to develop a quick finding and locating tables of key words related to the technique and interpretation of the violin and included in the analyzed sources. Thus this work is settled as a tool to release the main violin historical sources from the 17th and 18th centuries and to ease the access to their contents to both violinists specialist in Ancient Music and modern violinists who are looking for an historically informed inerpretation approach. Finally, this dissertation aims to infer the existence or absence of a basic methodology in the violin tuition during the 17th and 18th centuries and, based on this information, propose a sort of methodological guide for the present-day baroque violin students.
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Keywords
Violín Tratado Metodología Barroco Violin Treatise Methodology Baroque