ANALISIS KOMPOSISI ADELITA KARYA FRANCISCO TARREGA

This study aims to describe the results of an analysis of Adelita's music composition in terms of melody, rhythm, and harmony analyzed based on motives, themes, phrases, and periods. It aims to find out the creation concept made by the composer. This research belongs to a qualitative descriptive analysis research. The main instrument in this study was the researcher itself. The researcher processed the data by doing some steps such as reading scores from Adelita's material, then classifying the data from understanding music theory, from the structural aspect, as well as the melody, rhythm, and harmony, so that the researcher can make a summary of the data found in the form of writings which describe an understanding of music theory. Then, the researcher conducted a feasibility test on the song with the aim that the song analyzed can be used as a learning material for students studying classical guitar material and as an eligibility to be taken as musical knowledge. The results show that Adelita's work is unique in terms of playing techniques and ornamentation. By using simple melody, rhythm, and harmony, Adelita can be accepted as a reference for learning classical guitar. The assessment was obtained from simple melody, rhythm, and harmony analysis. Thus, it can be used as a reference for learning classical guitar for students who take the course of classical guitar major instrument.Keywords: Structure Analysis, Adelita Composition, Francisco Tarrega

GENRE CHARACTERISTICS OF ROMANTIC FANTASY FOR THE GUITAR ON A BORROWED THEME BY F. TARREGA

The purpose of this article is to identify the individual-style features and genre characteristics of romantic fantasy for the academic professional guitar. The methods of the research are based by investigator on the application of a comprehensive approach, namely: evolutionary and historical methods – in the disclosure of the processes of formation and subsequent evolution of the genre under study; analytical – in the study of different genre literature, concerning the chosen problem and others. The scientific novelty lies in the fact that fantasies for F. Tarrega’s guitar is analyzed by researcher for the first time. On their example, the individual-style features of the fantasy genre are revealed by scholar. Conclusions. In the course of the work, the genre characteristics of F. Tarrega’s romantic fantasy were analyzed, and it was discovered that virtuosity comes to the forefront as a mandatory quality of fantasy, which was associated with the emergence of virtuosos of composers and performers Napoleon Costa and Francisco Tarrega. Thanks to them, the guitar falls a focus of attention of famous virtuosos who study its chamber and orchestral capabilities. Fantasies for the guitar are improved in form and thematism, using as exclusively original thematism, and borrowed. In the era of romanticism, fantasies on a borrowed topic get the most development, a prerequisite for which was the growth of a virtuoso style of performance, which undoubtedly led to revolutionary achievements in the field of expressive means. One of the main features of guitar fantasies on a borrowed topic was the superiority not of composing, but of performing means of expression: agogics, dynamics, intonation and others. Fantasies for the guitar are extremely virtuosic and require considerable performing skills. However, virtuoso techniques are only of a subordinate nature, and borrowed themes become only an impulse for creating a new artistic integrity. From the point of view of the actual musical structure, such works are characterized by a combination of the form of fantasy with the variational principle of material development.

Três obras didáticas de Melchior Cortez (1882-1947): o violão entre os métodos clássicos e a Escola Moderna

Entre as décadas de 1920 e 1930, Melchior Cortez (1882-1947), português radicado o Rio de Janeiro desde os nove anos, concebeu três obras didáticas para violão publicadas por importantes editoras do Brasil e da Argentina (Casa Arthur Napoleão e Casa Romero y Fernandez): Exercícios Technicos Cromáticos (1927); Escola de Arpejos (1929); e os 27 Estudos para violão de Dionísio Aguado (1934). Ainda não abordadas em pesquisas sobre o tema, tais obras foram localizadas em acervos públicos e coleções particulares. Através de pesquisa documental e confronto com a bibliografia disponível, o artigo objetiva não somente apresentá-las e prover uma contextualização histórica inicial, mas também avaliar em que medida seus conteúdos eventualmente refletem a perspectiva de se fazer uma releitura dos autores-violonistas do período clássico à luz da Escola Moderna associada ao espanhol Francisco Tárrega (1852-1909).

Miejsca ojczyste w muzyce kompozytorów hiszpańskich XIX-XX wieku. Propozycja dydaktyczna

<p>W twórczości muzycznej hiszpańskich kompozytorów dostrzegamy dość wyraźnie wyodrębniony nurt dzieł, dla których źródła inspiracji wyłoniły się z geograficzno-kulturowych toposów ojczystego kraju. W tytułach tego typu utworów pojawiają się nazwy regionów Hiszpanii (m.in. Asturia, Kastylia, Aragonia, Katalonia, Baskonia, Andaluzja), jej miast (np. Granada, Kadyks, Ronda, Jerez, Kordoba), nierzadko w ścisłym powiązaniu z<span style="text-decoration: line-through;">e</span> różnymi znaczącymi fenomenami historyczno-kulturowymi i artystycznymi (np. malarstwem Francisco Goi). Uwagę naszą przyciągną kompozycje czołowych twórców hiszpańskich z końca XIX i początku XX wieku: Francisco Tárregi (1852-1909), Isaaca Albéniza (1860-1909), Enrique Granadosa (1867-1916), Manuela de Falli (1876-1946) i Joaquina Turiny (1882-1949). Zaznaczmy, że będzie to jedynie zasygnalizowanie wskazanego zjawiska, głównie dla celów edukacyjnych; jego pełne i wszechstronne przedstawienie wymagałoby obszerniejszego studium.</p><p>Różnorodność i kontrasty, które stanowią o specyficznym charakterze Hiszpanii, dają się zauważyć w wielu miastach tego kraju, a kultury arabska, żydowska i chrześcijańska – zarówno w swoich czystych przejawach, jak i tych będących rezultatem wzajemnych wpływów – tworzą dorobek historyczny i artystyczny trwale obecny do naszych czasów. Nadając utworom tytuły związane z ważnymi miejscami swojej ojczyzny – co istotne, z uwzględnieniem zakorzenionych w nich fenomenów kulturowych i muzycznych (folklor, tańce, pieśni, instrumentarium), kompozytorzy hiszpańscy, poprzez muzyczną „geografię”, utrwalili w pamięci kolejnych pokoleń „mapę” swojego kraju, zapewnili jednocześnie muzyce hiszpańskiej trwałe miejsce w kulturze światowej.</p><p><strong>Native Places in the Music of Spanish Composers of the 19th-20th centuries. A Didactic Suggestion</strong></p>SUMMARY<p>In the musical works of Spanish composers of the 19th and 20th centuries we can perceive a clearly distinguished trend of works for which inspiration sources emerged from the geographic-cultural topoi of their native country. The names of regions in Spain (e.g. Asturias, Castile, Andalusia), its towns (e.g. Granada, Cadiz, Cordoba) frequently appear in the titles of these types of work in close connection with various important historical-cultural phenomena, e.g. with the paintings of Francisco Goya). We see it in the compositions of leading Spanish composers of the late 19th and the beginning of the 20th centuries: Francisco Tárrega (1852-1909), Isaac Albéniz (1860-1949), Enrique Granados (1867-1916), Manuel de Falla (1876-1946), and Joaquin Turina (1882-1949). In the article, the author discusses inter alia: Wspomnienia z Alhambry [Memories of Alhambra] by Tárrega, I Suita hiszpańska [Spanish Suite no. 1] and Iberia by Albéniz, Goyescas by Granados, Noce w ogrodach Hiszpanii [Nights in the Gardens of Spain] by de Falla. By giving their works the titles connected with important places of their motherland, including also various cultural and musical phenomena rooted in them (folklore, dances, songs, instrumentation), the Spanish composers commemorated “the map” of their country in the memories of subsequent generations, and at the same time, ensured Spanish music a constant place in the world culture.</p>