Resumo: esta tese de doutoramento pretende discutir a génese da obra Homenaje a Debussy, de Manue... more Resumo: esta tese de doutoramento pretende discutir a génese da obra Homenaje a Debussy, de Manuel de Falla. Com a finalidade de reunir as versões manuscritas disponíveis, além de outros documentos correlatos, este trabalho baseou-se numa intensa investigação arquivística realizada em diversos acervos. Nossa discussão se dará sob a luz do conceito de intertextualidade de Julia Kristeva (1969), ampliado posteriormente por Gerárd Genette (1982). O estudo da herança performativa de Homenaje interessa-nos sobremaneira, assim como a relação de compositor e intérprete desenvolvida entre Manuel de Falla e Miguel Llobet. Ao final deste processo de reflexão, discutiremos a possível influência exercida por esta obra no desenvolvimento do repertório para guitarra no século XX, consubstanciada pelo trabalho efetuado por músicos como Emílio Pujol, Regino Sainz de la Maza, Andrés Segovia e Julian Bream. Finalmente, esta discussão será complementada por uma tabela de obras compostas durante o século XX para guitarra clássica que, esperamos, apresentará um amplo perfil historiográfico do período. // Abstract: this PhD thesis aims to discuss the genesis of Manuel de Falla’s Homenaje a Debussy. In order to gather the available handwritten versions as well as other related documents, archival research was carried-out in several collections. Our discussion will take place within the context of Julia Kristeva’s concept of intertextuality (1969), later expanded by Gerárd Genette (1982). We will examine the study of the performance tradition of Homenaje, as well as the composer-performer relationship developed between Manuel de Falla and Miguel Llobet. Further, we will discuss the possible influence exerted by this work on the development of the guitar repertoire of the twentieth century, substantiated by the work of musicians Emílio Pujol, Regino Sainz de la Maza, Andrés Segovia and Julian Bream. Finally, this discussion is supplemented by a table of twentieth century classical guitar works which will hopefully present a broad historiographic profile.
Resumo: esta tese de doutoramento pretende discutir a génese da obra Homenaje a Debussy, de Manue... more Resumo: esta tese de doutoramento pretende discutir a génese da obra Homenaje a Debussy, de Manuel de Falla. Com a finalidade de reunir as versões manuscritas disponíveis, além de outros documentos correlatos, este trabalho baseou-se numa intensa investigação arquivística realizada em diversos acervos. Nossa discussão se dará sob a luz do conceito de intertextualidade de Julia Kristeva (1969), ampliado posteriormente por Gerárd Genette (1982). O estudo da herança performativa de Homenaje interessa-nos sobremaneira, assim como a relação de compositor e intérprete desenvolvida entre Manuel de Falla e Miguel Llobet. Ao final deste processo de reflexão, discutiremos a possível influência exercida por esta obra no desenvolvimento do repertório para guitarra no século XX, consubstanciada pelo trabalho efetuado por músicos como Emílio Pujol, Regino Sainz de la Maza, Andrés Segovia e Julian Bream. Finalmente, esta discussão será complementada por uma tabela de obras compostas durante o século XX para guitarra clássica que, esperamos, apresentará um amplo perfil historiográfico do período. // Abstract: this PhD thesis aims to discuss the genesis of Manuel de Falla’s Homenaje a Debussy. In order to gather the available handwritten versions as well as other related documents, archival research was carried-out in several collections. Our discussion will take place within the context of Julia Kristeva’s concept of intertextuality (1969), later expanded by Gerárd Genette (1982). We will examine the study of the performance tradition of Homenaje, as well as the composer-performer relationship developed between Manuel de Falla and Miguel Llobet. Further, we will discuss the possible influence exerted by this work on the development of the guitar repertoire of the twentieth century, substantiated by the work of musicians Emílio Pujol, Regino Sainz de la Maza, Andrés Segovia and Julian Bream. Finally, this discussion is supplemented by a table of twentieth century classical guitar works which will hopefully present a broad historiographic profile.
Uploads
Thesis Chapters by Archivo de Falla
//
Abstract: this PhD thesis aims to discuss the genesis of Manuel de Falla’s Homenaje a Debussy. In order to gather the available handwritten versions as well as other related documents, archival research was carried-out in several collections. Our discussion will take place within the context of Julia Kristeva’s concept of intertextuality (1969), later expanded by Gerárd Genette (1982). We will examine the study of the performance tradition of Homenaje, as well as the composer-performer relationship developed between Manuel de Falla and Miguel Llobet. Further, we will discuss the possible influence exerted by this work on the development of the guitar repertoire of the twentieth century, substantiated by the work of musicians Emílio Pujol, Regino Sainz de la Maza, Andrés Segovia and Julian Bream. Finally, this discussion is supplemented by a table of twentieth century classical guitar works which will hopefully present a broad historiographic profile.
//
Abstract: this PhD thesis aims to discuss the genesis of Manuel de Falla’s Homenaje a Debussy. In order to gather the available handwritten versions as well as other related documents, archival research was carried-out in several collections. Our discussion will take place within the context of Julia Kristeva’s concept of intertextuality (1969), later expanded by Gerárd Genette (1982). We will examine the study of the performance tradition of Homenaje, as well as the composer-performer relationship developed between Manuel de Falla and Miguel Llobet. Further, we will discuss the possible influence exerted by this work on the development of the guitar repertoire of the twentieth century, substantiated by the work of musicians Emílio Pujol, Regino Sainz de la Maza, Andrés Segovia and Julian Bream. Finally, this discussion is supplemented by a table of twentieth century classical guitar works which will hopefully present a broad historiographic profile.