dc.contributor.advisor | Baltzer, Rebecca A. (Rebecca Anne), 1940- | en |
dc.contributor.advisor | Garrett, Nancy | en |
dc.creator | Cho, Yoon Soo | en |
dc.date.accessioned | 2008-08-28T22:51:20Z | en |
dc.date.available | 2008-08-28T22:51:20Z | en |
dc.date.issued | 2006 | en |
dc.identifier | b61291444 | en |
dc.identifier.uri | http://hdl.handle.net/2152/2481 | en |
dc.description.abstract | This treatise explores the rise of Spanish musical nationalism in the late
nineteenth-century piano works of Isaac Albéniz (1860-1909) and Enrique
Granados (1867-1916). Especially characteristic of Spanish nationalism is the use
of the Spanish guitar idiom in works for piano. Guitar techniques are most
apparent in Albéniz’s Suite Española (1886-1896) and Granados’s Doce Danzas
Españolas (1888-1890).
Chapter I discusses a brief history of Spanish piano music, the history of
flamenco and flamenco guitar, and Spanish musical nationalism for a better
understanding of Spanish music reflecting the country Spain, which was built on African-Moorish-Hebrew cultures and which survived these diverse cultures’
coexistence and conflict.
Chapter II includes Albéniz’s biographical background in relation to his
musical path and the compositional background of his Suite Española. Among the
eight pieces of Suite Española, “Granada (Serenata)” and “Asturias (Leyenda)”
are discussed in detail. The analysis of formal structure (simple three-part form of
ABA, which reflects instrumental-vocal-instrumental sections) is provided with
diagrams and musical examples. An analysis of harmonic and textural devices
(Phrygian mode and guitar writing) is also provided. The technical devices of the
guitar used in those pieces are wide spacing between the two hands, singing-like
melodic lines in narrow range, short melodic motives and phrases, repetition of
one note, especially on the open strings of the guitar (E-A-D-G-B-E), repeated
bass figures, and broken or arpeggiated chords, which reproduces the guitar sound
of rasgueado or just simple arpeggiation according to its context.
Chapter III discusses Granados’s biographical background in relation to
his musical path and the compositional background of his Doce Danzas
Españolas. Among the twelve pieces of Doce Danzas Españolas, “Andaluza” and
“Danza Triste” are discussed in detail. As in Chapter II, items for analysis include
formal structure and harmonic and textural devices. Since Granados’s music is
based on the development of melody and its modulation, an analysis of the
changes of the constantly-recurring melodies within the whole context is offered.
A summary conclusion follows the chapter on Granados. | |
dc.format.medium | electronic | en |
dc.language.iso | eng | en |
dc.rights | Copyright is held by the author. Presentation of this material on
the Libraries' web site by University Libraries, The University of Texas at Austin was made
possible under a limited license grant from the author who has retained all copyrights in
the works. | en |
dc.subject.lcsh | Albéniz, Isaac,--1860-1909--Suite española,--no. 1--Asturias | en |
dc.subject.lcsh | Albéniz, Isaac,--1860-1909--Suite española,--no. 1--Granada | en |
dc.subject.lcsh | Granados, Enrique,--1867-1916--Danzas españolas--Andaluza | en |
dc.subject.lcsh | Granados, Enrique,--1867-1916--Danzas españolas--Melancólica | en |
dc.subject.lcsh | Guitar music--Spain--Influence | en |
dc.title | The Spanish guitar influence on the piano music of Isaac Albéniz and Enrique Granados: a detailed study of Granada and Asturias of Suite española by Albéniz and Andaluza and Danza triste of Doce danzas españolas by Granados | en |
dc.description.department | Music | en |
dc.identifier.oclc | 72521974 | en |
dc.type.genre | Thesis | en |
thesis.degree.department | Music | en |
thesis.degree.discipline | Music | en |
thesis.degree.grantor | The University of Texas at Austin | en |
thesis.degree.level | Doctoral | en |
thesis.degree.name | Doctor of Musical Arts | en |