Tópicos músico-coréuticos en la tonadilla escénica dieciochesca : funciones semióticas de la música de danzas y bailes en las tonadillas de Jacinto Valledor (1744-1809)
Pessarrodona, Aurèlia 1978- (Universitat Autònoma de Barcelona. Departament d'Art i de Musicologia)

Título variante:	Coremusical topics in eighteenth-century tonadilla escénica : semiotic functions of dance music in Jacinto Valledor's tonadillas (1744-1809)
Título variante:	Musicas e Saberes em Trânsito / Músicas y Saberes en Tránsito / Musics and Knowledge in Transits
Publicación:	Lisboa : Colibri, 2012
Descripción:	21 pàg.
Resumen:	La abundante presencia de músicas de danzas y bailes en la tonadilla escénica del siglo XVIII se ha entendido normalmente como manifestación folklorista y realista de un casticismo reivindicativo asociado a lo nacional. Sin embargo, a partir de diversos ejemplos extraídos de las tonadillas de Jacinto Valledor se comprueba que estas músicas de danzas y bailes eran usadas como tópicos con una gran riqueza de funciones semióticas con el propósito de conseguir obras muy efectivas escénicamente según la estética dieciochesca y la peculiar dramaturgia tonadillesca.
Resumen:	The presence of popular dance music in the tonadilla has often been commented from a nationalist and somewhat idealistic point of view proposed, above all, by José Subirá: the tonadilla, as a stronghold of music Spanish in a period of Spanish history highly contaminated by foreign influences, was directly inspired by the music of popular dances such as the seguidillas, the fandango, the tiranas, etc. However, given the necessary revision of these already obsolete approach of Subirà, I have analyzed the choreomusical topics that appear in the music of the tonadillas of the Madrid composer Jacinto Valledor (1744-1809) following a point of view similar to that used by Wye Jamison Allanbrook for Mozart's theater music. Thus, in this communication I would like to make a brief presentation of the conclusions of this analysis, which has allowed me to observe that the semiotic functions of certain patterns of music from popular dances and court dances were much richer than what the somewhat reductionism of Subirà's theses shows. To put it very briefly, in these tunes the use of these chorus topics was closely related to the theatrical nature of the genre through the possible establishment of codes of meaning between authors and audience based on three main functions: 1) characterization of character typologies, environments and affects, 2) narration of events and 3) indication of the beginning and end of the plot or work.
Derechos:	Tots els drets reservats.
Lengua:	Castellà
Documento:	Capítol de llibre ; recerca ; Versió publicada
ISBN:	978-989-689-242-5

Disponible a partir de: 2100-01-01

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