Tonadilla in Performance
Lyric Comedy in Enlightenment Spain
The tonadilla, a type of satiric musical skit popular on the public stages of Madrid during the late Enlightenment, has played
a significant role in the history of music in Spain. This book, the first major study of the tonadilla in English, examines the musical, theatrical, and social worlds that the tonadilla brought together
and traces the lasting influence this genre has had on the historiography of Spanish music. Les mer
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The tonadilla, a type of satiric musical skit popular on the public stages of Madrid during the late Enlightenment, has played
a significant role in the history of music in Spain. This book, the first major study of the tonadilla in English, examines
the musical, theatrical, and social worlds that the tonadilla brought together and traces the lasting influence this genre
has had on the historiography of Spanish music. The tonadillas' careful constructions of musical populism provide a window
onto the tensions among Enlightenment modernity, folkloric nationalism, and the politics of representation; their diverse,
engaging, and cosmopolitan music is an invitation to reexamine tired old ideas of musical "Spanishness." Perhaps most radically
of all, their satirical stance urges us to embrace the labile, paratextual nature of comic performance as central to the construction
of history.
- FAKTA
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Utgitt:
2013
Forlag: University of California Press
Innbinding: Innbundet
Språk: Engelsk
ISBN: 9780520276307
Format: 23 x 15 cm
- KATEGORIER:
- VURDERING
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Gi vurdering
Les vurderinger
List of Illustrations A Note on Editions and Translations Acknowledgments Introduction: Indispensable Ornaments The Matter
at Hand--"A Horrible Storm": Nationalist Historiography and the Tonadillas--The Nature and Purpose of This Book--Kom/oide
1. An Evening at the Theater: An Imaginary Re/creation The First Act (Which Here They Call "Jornada")--Sainete: El Simple
Discreto--Tonadilla: El Pintor y la Vieja--La Niteti: Second Jornada--Sainete (Entremes): La Verdad Desnuda--Tonadilla: La
Avellanera y Dos Franceses, by Pablo Esteve 2. Players The Companies--Training in Acting--Women in the Theater--Blas de
Laserna, La Compositora (1777--1778)--Rehearsals--Players and Literacy--Oral and Aural Learning and Acting--Actor-Players
and Musician-Players--The First Violin for Dances and Tonadillas--The Music Master--The Copyist--The Apuntador ("Apunte")--Singing
Style--Improvisation--Pablo Esteve, La Desdicha de las Tonadillas (1782) 3. Rhythms Three Italian Styles--The Mediterranean
Roots of Galant Style--Coplas and Paired Phrasing--Luis Mison, La Chinesca (1761)--Blas de Laserna, La Comica y la Operista
(1783)--The Italian and "el Ytaliano"--The Galant as the Unmarked--Training in Composition--The Seguidilla(s)--Boleras in
the Allgemeine musikalische Zeitung--Minguet e Yrol, Arte de Danzar a la Francesa (1758)--Dancing the Seguidillas--Seguidillas
as Populist Symbol--Ramon de la Cruz, El Pueblo Quejoso (1765)--Paradox of the Seguidillas--Seguidillas in the Tonadillas--Blas
de Laserna, La Fuga de la Pulpillo (1784)--Blas de Laserna, La Leccion de Musica y de Bolero (1803) Intermedio: On the Stage
of the Metropolis Metropolitan Solipsism--Enter la Mandinga--The Manguindoy--Historical Sketch--Treacherous Mirrors: Symbols
of an Unfinished Conquest--The Spanish Rejection of Musical Mimesis--Exit la Mandinga--Cadence but Not Closure 4. Bandits
Jacaras, Jaques, and Social History--Bandoleros and Early Andalucismo--Majismo and Bandolerismo--Maria Ladvenant--Chinita
(Gabriel Lopez)--Jovellanos Is Incensed--Anonymous, El Guapo (Bocanegra) (ca. 1767)--Resistance, Rebellion, Revolution--Anonymous,
La Jacara (1767)--Improvised Playing and Written Composition--Thirty Years Later--Blas de Laserna, Los Contrabandistas (between
1794 and 1803)--Manuel Garcia, "Yo Que Soy Contrabandista" (1805) 5. Late Tonadillas "The Grand Tragedy: Historical Sketch,
1793--1813--Between the Acts: The Madrid Theaters, 1793--1813--History as Dramatic Material--General Features of Late Tonadillas--Tonadilla
Canonicity-- Blas de Laserna, El Ensayo (1805)--Another Afternoon at the Theater: Teatro del Principe, 25 August 1806--Isidoro
Maiquez and Antonia Prado--Manuel Quintana, Pelayo (1805)--Ramon de la Cruz, El Triunfo del Interes (1777)--Pablo del Moral,
El Page Tonto (1799--1809) Fin de Fiesta: Las Musicas La Raboso--Blas de Laserna, Las Musicas (1779)--The Limits of Re/creation
Appendix. Longer Music Examples Notes Bibliography Index
Elisabeth Le Guin is Professor of Musicology at UCLA and author of Boccherini's Body: An Essay in Carnal Musicology (UC Press,
2006).