Introduction
This research delves into the intersection between music, specifically Latin American, and other art forms. It aims to explore how, as a classical performer, I can create a performance that establishes connections between my musical repertoire and the realms of dance, painting, and poetry.
To effectively organize and contextualize the information, the initial step involves presenting the biographies of the composers whose pieces I will be performing. Additionally, I will be providing musical historical context regarding the birthplaces or locations where these composers lived and drew inspiration for their compositions.
The focus of this research development will mainly revolve around my personal experiences and the insights gained through the progression of this project. Special emphasis will be placed on the figure of Jose Elizondo, one of the composers whose piece I will be interpreting, and with whom I maintain direct contact and also, on the relationship between music (in this case latin-american) and other arts such as poetry, dancing and painting.
Biographies
Here is some information about the 3 composers which pieces I will perform in my Final Master Exam
Musical Roots
How was the situation in every region while the composers were creating their art?
Under the map there is a short explanation that might help to understand in which context and
what influenced the composers mentioned before in the maiking of their music.
Río de Janeiro
Brazil
The musical activity in Rio de Janeiro at the end of the 19th and the beginning of the 20th century was diverse and intense, encompassing genres ranging from jongos to Italian opera. This activity took place in various settings, formal and informal, professional and amateur, indoors and outdoors, involving a variety of vocal and instrumental resources. The spotlight is on musical activities in theatres throughout the city during the period between the proclamation of the Republic (1889) and the inauguration of Theatro Municipal (1909).
​
The theatres are considered complex venues that reflect cultural projects and undergo transformations in their uses and meanings. The greater advances are about changes in the theatrical-musical landscape of Rio de Janeiro, exploring the relationships between musical practices, cultural spaces, and sociocultural transformations during this period.
Mar del Plata
Argentina
At the outbreak of the First World War (1914-1918), numerous young musicians and composers returned from Europe to their homelands, among which Argentina was included. Some of these musicians participated in the development of Argentine musical nationalism, which, due to the lack of obvious causes or conflicts in the country, was largely driven by a quest for affirmation of identity, both professional and national. This movement spread through certain influential figures in the social and musical scene who aimed to "create" a movement out of nothing, without being too influenced by the country's social context as a whole. On the other hand, after the First World War, a universal feeling of unrest was generated, which, along with the abolition of tonality and the subsequent formulation of the principles of dodecaphonic technique, led to the creation of musical societies that promoted the creation and dissemination of the "New Music" or modern music, which spread from central Europe to all parts of the world, including Argentina. Finally, it is important to highlight the creation of the so-called "Renewal Group," whose origin was in the city of Buenos Aires and whose general objectives included organizing concerts in the same city and abroad, stimulating the artistic development of each of its members, and promoting the dissemination and knowledge of new musical pieces through public auditions.
Chihuahua
Mexico
Mexican music from the end of the 20th century until today has been experimenting multiple changes, blending the rich cultural heritage of the country with a lot more global heritage. Between the 80’ and the 90’ some new musical movements rose up like “Rock en tu Idioma”, which integrated rock in the traditional Mexican elements. In general, pop music and the “baladas” grew up in popularity.
Other genres who also flourished were some urban styles such as reggaeton, indie and alternative rock. Electronic music and hip hop became more popular due to their fusion with traditional Mexican rhythms.
The regional Mexican music has evolved with bands like “Banda MS” and soloists like Christian Nodal, incorporating modern influences and reaching new audiences. Society wise, music was used as a tool to bring change and cultural identity, reflecting and modelling the Mexican society throughout these years.
To sum up, Mexican music has been a dynamic event that has experienced a constant evolution, combining tradition and globalization, and perpetuating it’s crucial role on unifying and culturally expressing the national identity.
Interviews
Artistic Research
What is my own point of view about the experience and the information I gathered during the elaboration of this research?
In this chapter, I will present all the content of this research for the public to see, so they can comprehend the process behind this written and practical work.
​
If you click on the numbers in the images above, you will find a link that will open a document. Each of the three documents summarizes an article that connects music with three other arts: painting, dance, and poetry.
First contact with an interdisciplinary type of performance
Throughout my musical career, I had the pleasure of sharing the stage with artists from other disciplines, let alone organizing a collaborative project on my own. It is true that as a musician, it is very likely to attend a performance where, without diminishing the importance of music, it is accompanied or enriched by other forms of art. I would like to highlight in this
case the art of dancing. The vast majority of people, whether musicians or not, have heard of or witnessed a ballet performance. This dance has been intrinsically linked to classical music throughout history and has been nourished by it to this day. On the other hand, and perhaps to a lesser extent, I have had access to other types of performances in which music also plays a very important role, such as painting exhibitions guided by various musical motifs or theatrical works that also included musical pieces (as in opera).
Although I must say that in this Master of Interpretation, I have had the opportunity to explore this type of performance more. Many of the classes served as inspiration for me to dare to create something like this on my own.
In my opinion, music and other arts can come into contact in many different ways. In some, music will take on a more "leading" role, and in others, it will serve as mere accompaniment. However, I also believe that it is possible to create a project in which music and the other involved arts are equally fundamental, in which the removal of one or the other affects the performance drastically. And this last example is the one I would like to follow during the build up of this performance.
.
Dancing with Elizondo's "Latin American Dances"
In an interview with composer Elizondo, the discussion about integrating dance into music revealed mutual openness to creating varied versions of a piece, and specifically, to collaborating with dancers. Elizondo's inspiration from Argentinian, Brazilian, and Mexican folk music naturally aligns with traditional dance, making the addition of dance routines feel authentic and enhancing the folkloric roots.
I discovered Elizondo's "Latin American Dances" while searching for cello ensemble music and chose to perform the cello and piano arrangement of his piece to highlight the cello. Initial rehearsals involved exploring harmonies and rhythmic motifs, leading to a personalized interpretation while staying true to the composer's indications.
The idea of collaborating with a dancer emerged as I began to internalize the pieces, recognizing that the melodies and rhythms invited movement. After finding an enthusiastic dancer, we aimed to create a performance that connected the music's melodic and rhythmic elements with the dancer's movements.
​
​
Rehearsals focused on ensuring a cohesive performance, addressing challenges such as understanding the dancer's limitations and adjusting to the stage dynamics. Overcoming these challenges led to a fluid, interdisciplinary experience, enriching the performance artistically and encouraging greater expression with my instrument, both physically and musically.
