Una aproximación pedagógica a la interpretación pianística a través del estudio de rollos para piano reproductor: Preservación del patrimonio cultural Revitalización de prácticas históricas del siglo XIX
DOI:
https://doi.org/10.31637/epsir-2024-1290Palabras clave:
interpretación pianística, pedagogía musical, grabaciones históricas, siglo XIX, patrimonio cultural, interpretación histórica informada, rollos de piano reproductor, recuperación de prácticas históricasResumen
Introducción: El estudio se centra en la interpretación pianística a través del análisis de rollos para piano reproductor, con el objetivo de preservar el patrimonio cultural y revitalizar prácticas históricas del siglo XIX. Metodología: Se emplea un enfoque cualitativo multidimensional que combina métodos tradicionales y tecnológicos para analizar grabaciones históricas y aplicar los hallazgos a la enseñanza actual. Resultados: Se documentan matices interpretativos que se habían desvanecido con el tiempo, proporcionando una comprensión más profunda de las técnicas y estilos históricos. Discusión: Se analizan las dificultades inherentes y los beneficios significativos asociados con el uso de estos mecanismos y tecnologías para el estudio de fuentes históricas en la investigación pianística. Conclusiones: El estudio de los rollos de piano reproductor no solo preserva el patrimonio cultural, sino que también enriquece la interpretación pianística actual permitiendo a los músicos actuales aprender y recuperar técnicas históricas.
Descargas
Citas
Clarke, E. F. (2006). “Making and Hearing Meaning in Performance.” The Nordic Journal of Aesthetics, 18(33-34), 33-34. https://doi.org/10.7146/nja.v18i33-34.2831 DOI: https://doi.org/10.7146/nja.v18i33-34.2831
Cook, N. (2021). Music: A very short introduction. Oxford University Press. DOI: https://doi.org/10.1093/actrade/9780198726043.001.0001
Cook, N. (2009). Methods for analysing recordings. En N. Cook, E. Clarke, D. Leech-Wilkinson, y J. Rink (Eds.), The Cambridge Companion to Recorded Music (pp. 221-245). Cambridge: Cambridge University Press. https://doi:10.1017/CCOL9780521865821.027 DOI: https://doi.org/10.1017/CCOL9780521865821.027
De Phillips, F. A., William, B. M., Cribbin, J. J. (1960). Management of training programs. Richard D. Erwin, Inc. https://archive.org/details/managementoftrai0000deph
Estrada Bascuñana, C. (2023a), The Sound Legacy of Enrique Granados’s Female Inheritors: Breaking into the Male-Dominated Performing Arena. In Libro de Actas del X Congreso Universitario Internacional sobre Contenidos, Investigación, Innovación y Docencia: (CUICIID 2023) 5, 6 y 7 de Octubre 2023, Madrid. Retrieved from https://cuiciid.net/libro-de-actas/
Estrada Bascuñana, C. (2023b), A Performance-based Pedagogical Method to Enhance Brain Plasticity in Piano Students. En J. Albar, M. Ranilla y C. Hernández (Eds.), Praxis y espacios de intervención desde el Arte y la Educación (pp. 512–530). Dykinson.
Estrada Bascuñana, C. (2020a). The Lost Sounds of the Nightingale: A Music Revival in the Digital Era, HKB Zeitung, 4, S.21. https://10.24451/arbor.13905
Estrada Bascuñana, C. (2020b), Granados’ Secrets Revealed by His Piano Rolls. L. Morales, M. Christoforidis and W. Clark (eds.), Enrique Granados in context: The Spanish Piano School and Pre-War Artistic Movements (pp. 181-194). Spanish Keyboard Music Series vol. 6. FIMTE. https://dialnet.unirioja.es/servlet/articulo?codigo=7625004
Estrada Bascuñana, C. (2019), Enrique Granados’s Performance Style: Visualising the Audible Evidence. T. Gartmann y D. Allebach (Eds.), Rund um Beethoven. Interpretationsforschung heute (pp. 150–179). Schliengen: Argus. doi.org/10.26045/kp64-6178-007 DOI: https://doi.org/10.26045/kp64-6178-008
Estrada Bascuñana, C. (2017), New Approaches to Enrique Granados’ Pedagogical Methods and Pianistic Tradition: A Case of Study of Valses poéticos op. 43. Diagonal: An Ibero-American Music Review, 2(1). https://doi.org/10.5070/D82135899 DOI: https://doi.org/10.5070/D82135899
Fernández-Morante, B. (2018) ‘Psychological Violence in Current Musical Education at Conservatoire’. Revista Internacional de Educación Musical, 6(1), 13–24.
https://doi.org/10.12967/RIEM-2018-6-p013-024 DOI: https://doi.org/10.12967/RIEM-2018-6-p013-024
Glaser, B. y Strauss, A. (2017). Discovery of grounded theory: Strategies for qualitative research. Routledge. DOI: https://doi.org/10.4324/9780203793206
Bauer, H. (1948). Harold Bauer, his Book. New York. https://acortar.link/x1D3pA
Hodapp, B. (2018) ‘Psychische Belastung, Burnout, Perfektionismus, Optimismus, Pessimismus und Erholungskompetenz bei professionellen Sängerinnen und Sängern’, Jahrbuch Musikpsychologie, 28. DOI: https://doi.org/10.5964/jbdgm.2018v28.21
Leech-Wilkinson, D. (2022). Towards a Practice of Musical Performance Creativity. G. Borio (Eds.), The Mediations of Music: Critical Approaches after Adorno (pp. 88-103). Routledge. https://doi.org/10.4324/9781003166139 DOI: https://doi.org/10.4324/9781003166139-8
Leech-Wilkinson, D. (2020). Challenging Performance: Classical Music Performance Norms and How to Escape Them. https://challengingperformance.com/the-book/
Milsom, D. (2023). Understanding Joseph Joachim's Style and Practice: Recordings as a research tool. Moreda Rodríguez, E. y Stanovic, I. (Eds.), Early Sound Recordings (pp. 99-117). Routledge. https://doi.org/10.4324/9781003194521 DOI: https://doi.org/10.4324/9781003194521-8
Milsom, D. (2020). Romantic Violin Performing Practices: A Handbook. Boydell & Brewer. https://doi.org/10.2307/j.ctvt1sjt5 DOI: https://doi.org/10.1515/9781787447967
Moreda Rodríguez, E. y Stanovic, I. (2023) Early Sound Recordings: Academic Research and Practice. Routledge. https://doi.org/10.4324/9781003194521 DOI: https://doi.org/10.4324/9781003194521
Peres Da Costa, N., Stephens, M. y Skinner, G. (2022). Henri Herz (1803-1838): Variations brillantes sur un thème favori de l'opéra de Zampa [by Hérold]; Neal Peres Da Costa (pianoforte); Elizabeth Bay House, Sydney. https://hdl. handle. net/2123/29315
Peres Da Costa, N. (2019). Carl Reinecke’s Performance of his Arrangement of the Second Movement from Mozart’s Piano Concerto k. 488. Some Thoughts on Style and the Hidden Messages in Musical Notation. In T. Gartmann y D. Allebach (Eds.), Rund um Beethoven. Interpretationsforschung heute (pp.114-149) Schliengen: Edition Argus. doi.org/10.26045/kp64-6178-007 DOI: https://doi.org/10.26045/kp64-6178-007
Peres Da Costa, N. (2012). Off the Record: Performing Practices in Romantic Piano Playing. New York: Oxford University Press. DOI: https://doi.org/10.1093/acprof:oso/9780195386912.001.0001
Reid, A., Peres Da Costa, N. y Carrigan, J. (Eds.). (2021). Creative Research in Music: Informed Practice, Innovation and Transcendence. Routledge. https://bit.ly/3ShB9sC DOI: https://doi.org/10.4324/9780429278426-1
Riva, D. (1982). The Goyescas for Piano by Enrique Granados: a Critical Edition (Doctoral Dissertation) New York University. https://bit.ly/3y4znUD
Smith, C. D. (1987). Duo-Art Piano Music. A Complete Classified Catalog of Music Recorded for the Duo-Art Reproducing Piano. Monrovia, C. A. https://bit.ly/4d8zWM5
Smith, C. D. y Howe, R. J. (1994). The Welte-Mignon: its Music and Musicians. Complete Catalogue of Welte-Mignon Reproducing Piano Recordings 1905-1932. Historical Overview of Companies and Individuals. Biographical Essays on the Recording Artists and Composers. Vestal, NY https://catalog.lib.msu.edu/Record/folio.in00001879461
Sitsky, L. (1990).The Classical Reproducing Piano Roll. A Catalogue-Index. New York https://catalogue.nla.gov.au/catalog/221786
Stanović, A., Stanović, I., Milsom, D. y Miller, D. (2022). Austro-German Revivals:(Re) constructing Acoustic Recordings. https://bit.ly/468Z7vR DOI: https://doi.org/10.4324/9781003194521-11
Descargas
Publicado
Cómo citar
Número
Sección
Licencia
Derechos de autor 2024 Carolina Estrada Bascuñana
Esta obra está bajo una licencia internacional Creative Commons Atribución-NoComercial-SinDerivadas 4.0.
Authors who publish with this journal agree to the following terms:- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under Creative Commons Non Commercial, No Derivatives Attribution 4.0. International (CC BY-NC-ND 4.0.), that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).