clave

El aprendizaje de Rafael Puyana con Wanda Landowska en Lakeville (Connecticut) Rafael Puyana's Studies with Wanda Landowska in Lakeville (Connecticut) La Fundación Archivo Manuel de Falla (Granada) incorporó en 2013 el legado del clavecinista Rafael Puyana (1913-1931). Si bien es conocida su faceta como intérprete, pocos datos se saben de la formación que recibió antes de su debut y consolidación artís-tica, en concreto del período en el que estudió con Wanda Landowska en Lakeville (Con-necticut). Es por ello que es necesaria una aproximación al conocimiento que la claveci-nista polaca le transmitió y la manera en que lo hizo, al igual que la ayuda que prestó al joven intérprete para darse a conocer en las salas de concierto. El presente trabajo se fundamenta en una investigación de tipo documental, a partir del vaciado y análisis siste-mático de fuentes musicales encontradas en su biblioteca personal, donde se ha trabajado con un importante corpus de correspondencia y programas de concierto, que han sido complementadas con información de otros fondos. Palabras clave: Rafael Puyana, Wanda Landowska, enseñanza-aprendizaje, conciertos, clave. In 2013, the Fundación Archivo Manuel de Falla (Granada, Spain) acquired the private library of the harpsichordist Rafael Puyana (1913-1931). Despite his well-known facet as performer, little is known about the training he received prior to making his debut and consolidating his artistic career, in particular the period he studied with Wanda Landowska in Lakeville (Connecticut). A study of the knowledge the Polish harpsichordist passed on to him, and the manner in which she did so, is thus necessary, as is the assistance she gave the young performer in making a name for himself in the concert hall. This article is based on documentary research, the result of combing through and systematically analysing the musical sources found in his private library, and sifting through a substantial amount of correspondence and concert programs. This has been complemented with information gathered from other collections. Las inquietudes de la conocida clavecinista polaca Wanda Landowska (1879-1959) por recuperar el clavecín-tras haber quedado desplazado por el piano en el Romanticismo-e interpretar las obras originalmente escritas para este instrumento se vieron materializadas cuando mandó construir uno-bajo su supervisión y con ayuda de un ingeniero-a la fábrica parisiense de pianos Pleyel.

The so-called West African standard pattern<2212221>is a ubiquitous rhythm that serves as a temporal reference for dozens of genres across the Black Atlantic. But this pattern also appears in rotated versions—i.e. with other onsets of the pattern perceived as the reference point. This occurs in specific traditional genres (e.g. Nigerian Yoruba drumming <2212212>) and in experimental Afro-diasporic musics (e.g. “Das Arabias,” [Orkestra Rumpilezz, 2016] <1222122>). In fact, some musicians deliberately aim to increase rhythmic complexity by using various types of rotations of the pattern (Diaz 2017). How do musicians and audiences who are familiar with the standard pattern in its version <2212221>react when the point of reference is shifted in time? This paper engages this question from an empirical standpoint with three psychological experiments on rhythm realized in Ghana. The experiments measure perceived, metric, and performance complexity of the standard pattern in its 12 possible rotations and in three contexts: the rhythm alone, and in conjunction with a 12/8 and a 3/2 pulse. The results are compared to analysis of rhythmic complexity based on syncopation and metric strength (Agawu 2003, Diaz 2017). The paper argues that that familiarity with the “base” rotation <2212221> is crucial to studying rhythmic complexity of other rotations of the pattern.

Key Words: Timeline-music, West African Standard Pattern, Rhythmic Complexity, Empirical Analysis, Black Atlantic