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You searched for subject:( Tonadas). Showing records 1 – 3 of 3 total matches.

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Universidad de Chile

1. Novoa Bravo, Astrid. Voces femeninas en la poesía tradicional chilena: el discurso amoroso en la tonada .

Degree: 2016, Universidad de Chile

Aunque la poesía tradicional campesina ha estado ligada principalmente al discurso masculino, las tonadas de temática amorosa recopiladas entre finales del siglo XIX y la primera mitad del siglo XX en Chile presentan voces femeninas que se sitúan como sujetos de la enunciación para hablar sobre sus relaciones afectivas, su cuerpo, su manera de habitar los espacios públicos o privados y su particular forma de generar lazos comunitarios. Cuando, como consecuencia del discurso oficial de la elite del siglo XIX en Chile se ha buscado establecer una igualdad entre folklore y nación que tiende a homogeneizar las prácticas culturales campesinas de carácter popular, es pertinente redescubrir un corpus poético-musical como el de las tonadas de amor en que dialogan prototipos femeninos conservadores –la mujer doliente- y subversivos –la mujer deseante- revelando las tensiones y certezas en torno a las que es producido el discurso amoroso a partir de las voces femeninas en la tradición campesina popular de inicios del siglo XX. Advisors/Committee Members: Oyarzún, Kemy (advisor).

Subjects/Keywords: Poesía chilena-Siglos 19-20-Historia y crítica; Tonadas; Mujeres en literatura

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APA (6th Edition):

Novoa Bravo, A. (2016). Voces femeninas en la poesía tradicional chilena: el discurso amoroso en la tonada . (Thesis). Universidad de Chile. Retrieved from http://repositorio.uchile.cl/handle/2250/147008

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16th Edition):

Novoa Bravo, Astrid. “Voces femeninas en la poesía tradicional chilena: el discurso amoroso en la tonada .” 2016. Thesis, Universidad de Chile. Accessed April 21, 2019. http://repositorio.uchile.cl/handle/2250/147008.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7th Edition):

Novoa Bravo, Astrid. “Voces femeninas en la poesía tradicional chilena: el discurso amoroso en la tonada .” 2016. Web. 21 Apr 2019.

Vancouver:

Novoa Bravo A. Voces femeninas en la poesía tradicional chilena: el discurso amoroso en la tonada . [Internet] [Thesis]. Universidad de Chile; 2016. [cited 2019 Apr 21]. Available from: http://repositorio.uchile.cl/handle/2250/147008.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Novoa Bravo A. Voces femeninas en la poesía tradicional chilena: el discurso amoroso en la tonada . [Thesis]. Universidad de Chile; 2016. Available from: http://repositorio.uchile.cl/handle/2250/147008

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation


University of Florida

2. Frias, Johnny. History and Evolution of the Tonadas Trinitarias of Trinidad de Cuba.

Degree: M.M., Music, 2010, University of Florida

The tonada trinitaria is an Afro-Cuban musical manifestation native to the town of Trinidad de Cuba. The city became one of the Caribbean s foremost sugar exporters in the early nineteenth century, for which reason thousands of African slaves were brought to work in the neighboring Valle de los Ingenios (Valley of the Sugar Mills). It was here that the local musical practices of African slaves, their descendents, and white peasants meshed, producing an environment conducive to the creation of creole musical forms, of which the tonada trinitaria is a prime example. The tradition took shape among the black urban population of Trinidad following the collapse of the city s sugar-based economy in the late 1840s. The first tonada groups appeared during the first war of Cuban independence (1868-1878), propagated by Patricio Gasco acuten and Tando Villa, both of whom were musicians of the Cabildo de San Antonio de Congos Reales. This cabildo was a cultural and religious center of Bantu-derived traditions, serving as a theater for local black cultural production. Both men were also war volunteers in the Cuban army and zafreros (cane-cutters during harvest season). Their personal backgrounds and interactions in the war and in the sugar fields of the Valle de los Ingenios allowed them to combine the Spanish and African musical influences which formed the base of the tonadas trinitarias. The tonada groups consist of a chorus, a lead singer, three small drums, a gu umlautiro (gourd-scraper), and a hoe blade struck with an iron beater. The gui acutea, or lead singer, begins by introducing the tonada (a two-to-four line text). The percussion joins in, providing a steady rhythmic accompaniment, followed by the chorus, who repeats the tonada. In call-and-response style, the gui acutea improvises his text based on the theme of the tonada. These themes include love, social commentary, patriotism, and puyas, which poke fun at a certain person or situation. The tonada groups represented certain barrios (marginal neighborhoods) and performed during all-night transits through the city streets, stopping to give serenades at certain homes or meet with each other in competition. The tradition evolved as new generations took over and elders retired. This generational turnover and change is conceptualized as three distinct eras by the tonada musicians. Since the beginning of the third era in the 1960s, the tonadas have declined considerably in their activity, passing to the realm of preserved folklore. Following the rise in tourism in Cuba in the 1990s, the tonadas have become confined to folkloric performances for tourists. ( en ) Advisors/Committee Members: Crook, Larry N. (committee chair), Tremura, Welson (committee member).

Subjects/Keywords: Barrios; Claves; Drums; Musical performance; Musical rhythm; Musicians; Rumba; Singers; Slavery; War; cuba, tonada, tonadas, trinitaria, trinitarias

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APA (6th Edition):

Frias, J. (2010). History and Evolution of the Tonadas Trinitarias of Trinidad de Cuba. (Masters Thesis). University of Florida. Retrieved from http://ufdc.ufl.edu/UFE0041692

Chicago Manual of Style (16th Edition):

Frias, Johnny. “History and Evolution of the Tonadas Trinitarias of Trinidad de Cuba.” 2010. Masters Thesis, University of Florida. Accessed April 21, 2019. http://ufdc.ufl.edu/UFE0041692.

MLA Handbook (7th Edition):

Frias, Johnny. “History and Evolution of the Tonadas Trinitarias of Trinidad de Cuba.” 2010. Web. 21 Apr 2019.

Vancouver:

Frias J. History and Evolution of the Tonadas Trinitarias of Trinidad de Cuba. [Internet] [Masters thesis]. University of Florida; 2010. [cited 2019 Apr 21]. Available from: http://ufdc.ufl.edu/UFE0041692.

Council of Science Editors:

Frias J. History and Evolution of the Tonadas Trinitarias of Trinidad de Cuba. [Masters Thesis]. University of Florida; 2010. Available from: http://ufdc.ufl.edu/UFE0041692


University of North Carolina – Greensboro

3. Lee, Yong Im. An Amalgam of Chilean Folk and Art Music: 12 Tonadas de carácter popular chileno by Pedro Humberto Allende.

Degree: 2008, University of North Carolina – Greensboro

Pedro Humberto Allende (1885-1959), a pioneer in the development of contemporary music in Chile, was one of the most significant Chilean composers and a distinguished pedagogue, folklorist, and ethnomusicologist during the first half of the twentieth century. Many of his compositions include elements of Chilean folk tunes and dance rhythms that portray the Chilean cultural landscape. Among his works, the piano set 12 Tonadas de carácter popular chileno (1918-1922) stands out because of its originality. This work contains Chilean folk elements manifested in the tonada and cueca, genres unique to Chilean folk music. Influenced by impressionism and post-impressionism, each of the 12 Tonadas has a distinctive harmonic language including exotic and modal scales, bitonality, and a wide range of chromaticism and dissonances. The masterful blend of folk elements with complex and unique harmonies makes the 12 Tonadas de carácter popular chileno a noteworthy example of the compositional practices of the early twentieth century. After the introductory Chapter I, Chapter II outlines a brief history of Chilean art music from the sixteenth century to the end of the nineteenth century and sketches Allende's life, encompassing his musical influences and compositional styles. Chapter III describes the origins and musical characteristics of the Chilean folk genres tonada and cueca and their influence upon the 12 Tonadas. In Chapter IV, each of the twelve pieces is analyzed with respect to its harmonic, rhythmic, and formal scheme, from which a comparative analysis of the twelve as a whole is provided. Chapter V addresses the performance and interpretative issues of the composition through a comparison of recordings of Tonadas VI and VII by two pianists, Ricardo Viñes (1875-1943) and Oscar Gacitúa (1925-2001). Observations by the Chilean pianist Elvira Savi (b. 1921) and personal reflections by the author (b. 1976) complete the chapter. Despite the success achieved in Europe and South America during Allende's lifetime, the 12 Tonadas suffered neglect over the years and are today almost unknown outside Chile. The present study serves to revive an awareness of this unique work and ultimately to promote its study and performance by scholars and performers around the world.; Folk Music, Composer Advisors/Committee Members: Andrew Willis (advisor).

Subjects/Keywords: Allende, Pedro Humberto, – 1885-1959. – Tonadas de cara´cter popular chileno; Allende, Pedro Humberto, – 1885-1959.; Composers – Chile.; Folklore – Chile.; Ethnomusicology – Chile.; Folk music – Chile.; Music – Instruction and study $Chile.; Vine`s, Ricardo, – 1875-1943; Gacitu´a, Oscar; Savi, Elvira.

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Lee, Y. I. (2008). An Amalgam of Chilean Folk and Art Music: 12 Tonadas de carácter popular chileno by Pedro Humberto Allende. (Doctoral Dissertation). University of North Carolina – Greensboro. Retrieved from http://libres.uncg.edu/ir/listing.aspx?styp=ti&id=364

Chicago Manual of Style (16th Edition):

Lee, Yong Im. “An Amalgam of Chilean Folk and Art Music: 12 Tonadas de carácter popular chileno by Pedro Humberto Allende.” 2008. Doctoral Dissertation, University of North Carolina – Greensboro. Accessed April 21, 2019. http://libres.uncg.edu/ir/listing.aspx?styp=ti&id=364.

MLA Handbook (7th Edition):

Lee, Yong Im. “An Amalgam of Chilean Folk and Art Music: 12 Tonadas de carácter popular chileno by Pedro Humberto Allende.” 2008. Web. 21 Apr 2019.

Vancouver:

Lee YI. An Amalgam of Chilean Folk and Art Music: 12 Tonadas de carácter popular chileno by Pedro Humberto Allende. [Internet] [Doctoral dissertation]. University of North Carolina – Greensboro; 2008. [cited 2019 Apr 21]. Available from: http://libres.uncg.edu/ir/listing.aspx?styp=ti&id=364.

Council of Science Editors:

Lee YI. An Amalgam of Chilean Folk and Art Music: 12 Tonadas de carácter popular chileno by Pedro Humberto Allende. [Doctoral Dissertation]. University of North Carolina – Greensboro; 2008. Available from: http://libres.uncg.edu/ir/listing.aspx?styp=ti&id=364

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