{"id":115456,"date":"2018-03-11T10:43:58","date_gmt":"2018-03-11T10:43:58","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/formacion-musical-del-cante-flamenco-en-torno-a-la-figura-de-silverio-franconetti-1830-1889\/"},"modified":"2018-03-11T10:43:58","modified_gmt":"2018-03-11T10:43:58","slug":"formacion-musical-del-cante-flamenco-en-torno-a-la-figura-de-silverio-franconetti-1830-1889","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/murcia\/formacion-musical-del-cante-flamenco-en-torno-a-la-figura-de-silverio-franconetti-1830-1889\/","title":{"rendered":"Formaci\u00f3n musical del cante flamenco. en torno a la figura de silverio franconetti (1830-1889)"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Guillermo Castro Buendia <\/strong><\/h2>\n<p>Objetivos   entre los objetivos que nos marcamos en este trabajo est\u00e1n, sobre todo, los que pretenden explicar la naturaleza musical del flamenco y sus or\u00edgenes, a saber:  1.\tDeterminar cu\u00e1l es la naturaleza est\u00e9tico-musical que define al g\u00e9nero flamenco, para poder calificar qu\u00e9 es flamenco y qu\u00e9 no lo es.  2.\tDelimitar hist\u00f3ricamente hasta d\u00f3nde se remontan estos antecedentes est\u00e9tico-musicales para poder referirnos a ellos como flamenco o preflamenco.  3.\tAnalizar y explicar las caracter\u00edsticas musicales de todos los estilos flamencos, realizando una clasificaci\u00f3n de los mismos atendiendo a estas caracter\u00edsticas.  4.\tEstablecer un criterio de transcripci\u00f3n musical coherente con la pr\u00e1ctica interpretativa flamenca y con sus antecedentes musicales.  5.\tEstudiar la m\u00fasica coet\u00e1nea al nacimiento del g\u00e9nero flamenco que pueda relacionarse con \u00e9l, para as\u00ed compararla y poder descubrir posibles influencias.  6.\tEstablecer un criterio a la hora de considerar una mayor o menor antig\u00ed\u00bcedad en los estilos conservados por tradici\u00f3n oral o en grabaciones hist\u00f3ricas.  7.\tEstudiar las caracter\u00edsticas estil\u00edsticas de las letras flamencas, sus or\u00edgenes, transmisi\u00f3n y transformaci\u00f3n, as\u00ed como su posible papel en la transmisi\u00f3n de melod\u00edas de cantos populares asociadas a las mismas.  8.\tDeterminar las figuras art\u00edsticas m\u00e1s importantes en el nacimiento y desarrollo del g\u00e9nero flamenco, estudiando a fondo sus aportaciones.  metodolog\u00eda   la labor de investigaci\u00f3n ha consistido en el an\u00e1lisis de los diferentes estilos musicales del flamenco y su estudio temporal, usando todas las fuentes documentales posibles. El primer punto de partida ha sido el estudio de la naturaleza musical de los cantes flamencos que surgen hacia mediados del siglo xix. Para ello nos hemos servido de la herramienta de la transcripci\u00f3n musical. Con ella hemos llevado al papel los cantes flamencos conservados en grabaciones desde aproximadamente 1895, \u00e9poca en la que se graban los primeros cilindros de flamenco en espa\u00f1a.  de forma paralela hemos estudiado las partituras de la misma \u00e9poca que reflejan cantes flamencos, tambi\u00e9n piezas instrumentales y de baile, tanto de corte flamenco como de escuela bolera. Igualmente se han estudiado las recopilaciones de cantos populares del siglo xix. Se han rastreado los posibles antecedentes guitarr\u00edsticos en las publicaciones de guitarra barroca y m\u00fasica renacentista. Lo mismo hemos hecho con el repertorio de m\u00fasica para canto con acompa\u00f1amiento.  \tel resto de documentaci\u00f3n estudiada y la de car\u00e1cter bibliogr\u00e1fico es en su mayor\u00eda documentos y textos coet\u00e1neos a la \u00e9poca de estudio. Se han consultado peri\u00f3dicos del siglo xix, revistas, libros de viaje, libros sobre musicolog\u00eda, diccionarios bibliogr\u00e1ficos, libretos teatrales, etc. Y diversos blogs de gran calidad en internet.  conclusiones  el cante flamenco se forma musicalmente a partir de la amplia n\u00f3mina de cantos tradicionales y populares que existen en la pen\u00ednsula. La naturaleza musical de los cantes flamencos y su forma de acompa\u00f1amiento coincide con cantos tradicionales fuertemente arraigados en la cultura popular espa\u00f1ola, como son: fandangos, jotas, seguidillas, romances y cantos de trabajo. Estas modalidades nutrir\u00e1n el repertorio de los artistas del g\u00e9nero primero llamado andaluz y luego flamenco, transform\u00e1ndose posteriormente en los estilos flamencos que estar\u00e1n por surgir a lo largo del siglo xix, como fueron: ca\u00f1as, polos, livianas, serranas, peteneras, seguiriyas, jaleos, canti\u00f1as, soleares, cantes sin guitarra y, muy a finales del siglo xix, tangos y buler\u00edas.   los antecedentes musicales m\u00e1s remotos del flamenco los encontramos en la m\u00fasica del siglo xvi, en algunos pasacalles, romanescas y fol\u00edas; y luego en la del xvii en algunas j\u00e1caras y canarios. La m\u00fasica para guitarra del siglo xviii y su lenguaje idiom\u00e1tico, con la t\u00e9cnica del rasgueo, ser\u00e1 el antecedente m\u00e1s importante y la base fundamental del llamado &quot;toque flamenco&quot; de acompa\u00f1amiento que se ir\u00e1 definiendo a lo largo del siglo xix. Se ha detectado una importante relaci\u00f3n entre la m\u00fasica flamenca y m\u00fasicas venidas de am\u00e9rica, proceso que se remonta hasta el siglo xvi. La cercan\u00eda al continente africano y la trata de esclavos desde el siglo xiv es un factor a tener en cuenta en cuanto al trasvase de ritmos, bailes y m\u00fasicas desde \u00e1frica a espa\u00f1a, algo que vino ocurriendo tiempo antes de su viaje hacia am\u00e9rica. Una vez afincadas estas m\u00fasicas en las colonias de ultramar sufrieron una transformaci\u00f3n con el paso del tiempo y un posterior trasvase hacia la pen\u00ednsula por los principales puertos de embarque con el nuevo mundo, como fueron c\u00e1diz y sevilla.  es a mediados del siglo xix cuando de forma evidente encontramos descripciones de m\u00fasica, cantos y bailes relacionados con el flamenco que conocemos, con su expresividad y est\u00e9tica. Los antecedentes directos pueden remontarse al \u00faltimo cuarto del siglo xviii, cuando afloran los primeros datos de ciertas fiestas y bailes de candil en los que se canta y baila con un car\u00e1cter muy relacionado con el flamenco, apareciendo los primeros nombres de cantes y bailes que formar\u00e1n parte del repertorio posterior. Tambi\u00e9n aparecen los nombres de los primeros artistas y dinast\u00edas familiares de cantaores y cantaoras importantes.   el papel de silverio franconetti como uno de los primeros empresarios en sacarle partido al flamenco y como codificador y creador de estilos de cante parece decisivo en el desarrollo del flamenco. Su personalidad art\u00edstica dej\u00f3 una impronta de gran relevancia en casi todas las modalidades en boga en su tiempo: ca\u00f1as, polos, serranas, seguiriyas y soleares, transmiti\u00e9ndose sus formas de cante en sus disc\u00edpulos y cantaores posteriores. Al igual que silverio, otros importantes artistas antes que \u00e9l y otros posteriores se han encargado de ampliar la n\u00f3mina de variantes en los estilos flamencos, apareciendo sus nombres dentro de las diversas modalidades flamencas. Otras creaciones han pasado de forma an\u00f3nima, sin atribuci\u00f3n ninguna.  musical training of &quot;cante flamenco&quot;.  around the figure of silverio franconetti (1830-1889) guillermo castro buend\u00eda   objectives  the specific objectives that we set ourselves in this work are, above all, those who purport to explain the musical nature of flamenco and its origins:   1.\tDetermine what is the musical nature that defines flamenco genre, to qualify what flamenco is and what it is not.  2.\tDefine historically to where these musical nature that date to be able to refer to them as flamenco or pre-flamenco depending on the presence of these defining elements.  3.\tAnalyze and explain the musical characteristics of all flamenco styles, performing a classification thereof according to these characteristics.  4.\tEstablish a coherent musical transcription on flamenco music.  5.\tStudy the coetaneous music to the birth of the flamenco genre that can interact with it, to compare it and to discover possible influences.  6.\tEstablish a guideline when considering the antiquity of styles preserved by oral tradition or historical recordings.  7.\tStudy of the stylistic features of the flamenco lyrics, origins, transmission and transformation, as well as their possible role in the transmission of folk songs melodies associated with them.  8.\tDetermine the most important artistic figures in the birth and development of the flamenco genre, studying their contributions.    methodology   the research work has consisted of the analysis of the different musical styles of flamenco and its study temporarily, using all possible documentary sources. The first point of departure has been the study of the musical nature of the flamenco songs that arise around the middle of the 19th century. For this purpose we have transcribed flamenco songs preserved in recordings since about 1895, time in which are recorded the first cylinder of flamenco in spain.  we have studied the scores from the same period reflecting flamenco songs. At the same time we have studied parts instrumental and dance. We have also studied the collections of folk songs performed by folklorists who approached them in the 19th century and guitar baroque and renaissance music publications. Same thing we&apos;ve done with the repertoire of music for voice with accompaniment.  the rest of studied documentation is mostly contemporary to the time of study. We had viewed newspapers of 19th-century, magazines, travel books, books of musicology, bibliographic dictionaries, theatrical scripts, etc. And various flamenco blogs of high quality on the internet.   conclusions  flamenco music is formed from traditional songs that exist on spain. The musical nature of the flamenco songs and their accompaniment coincides with traditional songs strongly rooted in the spanish popular culture, such as: fandangos, jotas, seguidillas, romances and worksongs. These modalities will be subsequently becoming flamenco styles throughout the 19th century, as they were: ca\u00f1as, polos, livianas, serranas, peteneras, seguiriyas, jaleos, canti\u00f1as, soleares, songs without guitar and very end of the 19th century, tangos and buler\u00edas.  we find the most remote musical elements of flamenco in the music of the 16th century, in some passacagliaz, romanesques and folias; and then in the 17th in some jacaras and canaries. Guitar music of the 18th century and his idiomatic language, with the technique of strumming, will be the most important antecedent and the fundamental basis of the flamenco playing, that it will be defined during the 19th century. We have detected an important relationship between flamenco and music from america, process that dates back to the 16th century. The proximity of africa and the slave trade from the 14th century is a factor to keep in mind regarding the transfer of rhythms, dances and music from africa to spain, something that came to happening time before their journey to america. These music in the colonies overseas suffered a transformation with the past of time and arrived again to the peninsula by the main ports with the new world, such as c\u00e1diz and seville.  it is in the mid-19th century when, clearly, we find descriptions of music, singing and dancing flamenco we know. The direct antecedents can be traced back to the last quarter of the 18th century, when are related the first data of parties and dances of candle with songs and dances with flamenco character, appearing the first names of songs and dances that will be part of a later repertoire. There are also the names of the first artists and family dynasties of singers and dancers.   the role of silverio franconetti as one of the first businessmen in flamenco and encoder and creator of song styles seem decisive in the development of flamenco. His artistic personality left a mark of great importance in almost all modalities in his time: ca\u00f1as, polos, serranas, seguiriyas and soleares, transmitting his way of singing in his disciples and later singers.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Formaci\u00f3n musical del cante flamenco. en torno a la figura de silverio franconetti (1830-1889)<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Formaci\u00f3n musical del cante flamenco. en torno a la figura de silverio franconetti (1830-1889) <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Guillermo Castro Buendia <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Murcia<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 31\/03\/2014<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<h3>Direcci\u00f3n y tribunal<\/h3>\n<ul>\n<li><strong>Director de la tesis<\/strong>\n<ul>\n<li>Juan  Miguel Gonzalez Martinez<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Antonio Mart\u00edn moreno <\/li>\n<li>alfonso Vargas mac\u00edas (vocal)<\/li>\n<li>Miguel angel Berlanga fernandez (vocal)<\/li>\n<li>gerhard Steingress (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Guillermo Castro Buendia Objetivos entre los objetivos que nos marcamos en este trabajo est\u00e1n, sobre todo, los [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"footnotes":""},"categories":[8235,9132],"tags":[228388,12773,100530,228387,148518,38489],"class_list":["post-115456","post","type-post","status-publish","format-standard","hentry","category-murcia","category-musica-y-musicologia","tag-alfonso-vargas-macias","tag-antonio-martin-moreno","tag-gerhard-steingress","tag-guillermo-castro-buendia","tag-juan-miguel-gonzalez-Martinez","tag-miguel-angel-berlanga-fernandez"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/115456","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/comments?post=115456"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/115456\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=115456"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=115456"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=115456"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}