La prosodia como fuente de inspiración en la composición, análisis de dos obras propias: I Have a Dream y Romancero gitano
Barra lateral del artículo
Contenido principal del artículo
Resumen
Este artículo explora la noción de prosodia y su relación con la composición musical. El estudio lingüístico de la prosodia se ocupa de la energía, los ritmos y las entonaciones de los patrones del habla y cómo estos impactan en el significado de las expresiones. Está claro que hay correspondencias considerables entre los elementos prosódicos del lenguaje –sus ritmos, acentos y entonaciones– y la música; la prosodia es, con mucho, el elemento del lenguaje más cercano al sonido musical –en oposición al significado semántico o incluso pragmático–. El estudio de la prosodia revela muchas de las características del estado emocional o expresivo de un hablante, del mismo modo que inferimos el contenido emocional de la música a partir de la interpretación de una obra. ¿Qué hay de la relación entre prosodia y composición? El vínculo entre la prosodia y la composición musical ha sido muy significativo en momentos particulares de la historia, pero faltan estudios completos sobre esta conexión. Este artículo tiene como objetivo abordar esta falta de investigación tomando como punto de partida el análisis de mi propia obra. Con estas ideas en mente ofrezco una visión general de las conexiones entre la prosodia y la composición musical, y examino algunos trabajos psicolingüísticos actuales sobre el tema. A continuación reflexiono sobre mi enfoque compositivo utilizando la prosodia como fuente de inspiración en dos obras propias: I Have a Dream para oboe solo y Romancero gitano para pianista-recitador. Cierro el artículo con unas reflexiones finales.
Palabras clave: análisis, composición, Federico García Lorca, Manuel Martínez Burgos, I Have a Dream, Romancero gitano
Prosody as a source of inspiration in composition, analysis of two 0wn pieces: I Have a Dream and Romancero gitano
Abstract
This article explores the notion of prosody and its relationship to musical composition. The linguistic study of prosody is concerned with the energy, rhythms and intonations of speech patterns, and how these impact on the meaning of utterances. It is clear that there are considerable correspondences between the prosodic elements of language—its rhythms, stresses, and intonations—and music; it is by far the closest element of language to musical sound—as opposed to semantic or even pragmatic meaning. The study of prosody reveals many of the features of any speaker's emotional or expressive state, in the same way that we infer emotional content in music from the performance of a work. But what of the relationship between prosody and composition? The link between prosody and musical composition has been very significant at particular moments in history yet there is a lack of any thorough scholarship on this connection. This article aims to address this research gap taking two of my pieces as a starting point. With these ideas in mind, I provide an overview of the connections between prosody and music composition, and examine some current psycho-linguistic work on the subject. I then reflect on my compositional approach using prosody as a source of inspiration in two of my own works: I Have a Dream for solo oboe and Romancero gitano for pianist-reciter. I close the article with some final reflections.
Keywords: analysis, composition, Federico García Lorca, Manuel Martínez Burgos, I Have a Dream, Romancero gitano
Descargas
Detalles del artículo
Esta obra está bajo una licencia internacional Creative Commons Atribución-NoComercial-CompartirIgual 4.0.
Citas
Abelin, Åsa y Jens Allwood. 2000. “Cross linguistic interpretation of emotional prosody”. En Proceedings of the ISCA Workshop on Speech and Emotion, 110-113.
Anderson, Emily. 1938. The Letters of Mozart and His Family. Londres: MacMillan.
Antcliffe, Herbert. 1930. “Music in the life of the Ancient Greeks”. The Musical Quarterly 16 (2): 263-275. https://doi.org/10.1093/mq/XVI.2.263 DOI: https://doi.org/10.1093/mq/XVI.2.263
Atkinson, Charles M. 2009. The Critical Nexus: Tone-System, Mode, and Notation in Early Medieval Music. Oxford: Oxford University Press. DOI: https://doi.org/10.1093/acprof:oso/9780195148886.001.0001
Badura-Skoda, Paul. 1988. “A tie is a tie is a tie: Reflections on Beethoven’s pairs of tied notes”. Early Music 16 (1): 84-88. https://doi.org/10.1093/earlyj/XVI.1.84 DOI: https://doi.org/10.1093/earlyj/XVI.1.84
Barthes, Roland. 1957. Mythologies. París: Les Lettres nouvelles.
–––––. [1964] 1977. “Rhetoric of the Image”. En Image, Music, Text, editado por Stephen Heath, 32-51. Nueva York: Hill & Wang.
Besson, Mireille, Cyrille Magne y Daniele Schön. 2002. “Emotional prosody: Sex differences in sensitivity to speech melody”. Trends in Cognitive Sciences 6 (10): 405-407. https://doi.org/10.1016/S1364-6613(02)01975-7 DOI: https://doi.org/10.1016/S1364-6613(02)01975-7
Birnbacher, Dieter. [2006] 2014. Naturalness: Is the “Natural” Preferable to the “Artificial”? Lanham: University Press of America.
Bowra, Cecil M. 1961. Greek Lyric Poetry from Alcman to Simonides. Oxford: Oxford University Press.
Chomsky, Noam y Morris Halle. 1968. Sound Pattern of English. Nueva York: Harper & Row.
Clarke, Eric. 1986. “Theory, analysis and the psychology of music: A critical evaluation of Lerdahl, F. and Jackendoff, R.: A Generative Theory of Tonal Music”. Psychology of Music 14 (1): 3-16. https://doi.org/10.1177/0305735686141001 DOI: https://doi.org/10.1177/0305735686141001
–––––. 1989. “Issues in language and music”. Contemporary Music Review 4 (1): 9-22. https://doi.org/10.1080/07494468900640181 DOI: https://doi.org/10.1080/07494468900640181
Crystal, David. 2008. A Dictionary of Linguistics and Phonetics. Malden y Oxford: Blackwell Publishing. DOI: https://doi.org/10.1002/9781444302776
Del Mar, Jonathan. 2004. “Once again: Reflections on Beethoven’s tied-note notation”. Early Music 32 (1): 7-26. https://doi.org/10.1093/earlyj/32.1.7 DOI: https://doi.org/10.1093/earlyj/32.1.7
Drake, John. D. 1971. “The 18th-century melodrama”. The Musical Times 112 (1545): 1058-1060. DOI: https://doi.org/10.2307/954911
Elfline, Robert P. 2007. “‘A kind of composition that does not yet exist’: Robert Schumann and the rise of the spoken ballad”. Tesis doctoral, University of Cincinnati.
Elliott, David. J. 1993. “Musicing, listening, and musical understanding”. Contributions to Music Education 20: 64-83.
Fox, Anthony. 2000. Prosodic Features and Prosodic Structure: The Phonology of Suprasegmentals. Oxford: Oxford University Press. DOI: https://doi.org/10.1093/oso/9780198237853.001.0001
Fujisaki, Hiroya. 1997. “Prosody, models and spontaneous speech”. En Computing Prosody: Computational Models for Processing Spontaneous Speech, editado por Yoshinori Sagisaka, Nick Campbell y Norio Higuchi, 27-42. Nueva York: Springer. DOI: https://doi.org/10.1007/978-1-4612-2258-3_3
Glaser, Susan. 2000. “The missing link: Connections between musical and linguistic prosody”. Contemporary Music Review 19 (3): 129-154. https://doi.org/10.1080/07494467.2000.11689734 DOI: https://doi.org/10.1080/07494467.2000.11689734
Griffiths, Paul. 2005. The Penguin Companion to Classical Music. Nueva York: Penguin Group.
Hill, Peter y Nigel Simeone. 2007. Messiaen. Londres: Yale University Press.
Hirst, Daniel y Albert Di Cristo. 1998. “A survey of intonation systems”. En Intonation Systems: A Survey of Twenty Languages, editado por Daniel Hirst y Albert Di Cristo, 1-44. Cambridge: Cambridge University Press.
Hollien, Harry y Thomas Shipp. 1972. “Speaking fundamental frequency and chronologic age in males”. Journal of Speech and Hearing Research 15 (1): 155-159. https://doi.org/10.1044/jshr.1501.155 DOI: https://doi.org/10.1044/jshr.1501.155
Hultzen, Lee S. 1964. “Grammatical intonation”. En In Honour of Daniel Jones, editado por David Abercrombie et al., 85-95. Londres: Longmans.
Jakobson, Roman. 1973. Huit questions de poétique. París: Seuil.
Joyce, James. 1922. Ulysses. Dijon: Sylvia Beach – Shakespeare and Company.
Juslin, Patrick N. 2005. “From mimesis to catharsis: Expression, perception and induction of emotion in music”. En Musical Communication, editado por Dorothy Miell, Raymond MacDonald y David J. Hargreaves, 85-116. Oxford: Oxford University Press,. DOI: https://doi.org/10.1093/acprof:oso/9780198529361.003.0005
Juslin, Patrick. N. y Petri Laukka. 2003. “Communication of emotions in vocal expression and music performance: Different channels, same code?” Psychological Bulletin, 129 (5): 770-814. https://doi.org/10.1037/0033-2909.129.5.770 DOI: https://doi.org/10.1037/0033-2909.129.5.770
King Jr., Martin Luther. 1992. I Have a Dream: Writings and Speeches That Changed the World. San Francisco: HarperOne.
Kivilo, Maarit. 2010. Early Greek Poets' Lives, the Shaping of the Tradition. Leiden: Brill DOI: https://doi.org/10.1163/ej.9789004186156.i-272
Lassiter, Valentino. 2010. Martin Luther King in the African American Preaching Tradition. Eugene: Wipf & Stock.
Lerdahl, Fred. 1992. “Cognitive constraints on compositional systems”. Contemporary Music Review 6 (2), 97-121. https://doi.org/10.1080/07494469200640161 DOI: https://doi.org/10.1080/07494469200640161
Lerdahl, Fred y Ray Jackendoff. 1983. A Generative Theory of Tonal Music. Cambridge, MA: MIT Press.
Liddell, Henry George y Robert Scott. 1940. A Greek-English Lexicon. Oxford: Clarendon Press.
Littlejohn, Stephen W. y Karen A. Foss. 2009. Encyclopedia of Communication Theory. Thousand Oaks: SAGE. DOI: https://doi.org/10.4135/9781412959384
Lumbreras García, Pedro y Sara Lumbreras Sanchón. 2012. Introducción a Romancero gitano, 9-83. Madrid: Akal.
Matthews, Peter Hugoe. 2007. The Concise Oxford Dictionary of Linguistics. Oxford: Oxford University Press.
Maye, Kira. 2007. “Artificiality in Mannerism: The influence of self-fashioning”. Tesis doctoral, Boston College University.
Murail, Tristan. 2004. Modèles & artifices. Estrasburgo: Presses Universitaires de Strasbourg.
Nooteboom, Sieb. 1997. “The prosody of speech: Melody and rhythm”. En The Handbook of Phonetic Science, editado por William J. Hardcastle, John Laver y Fiona E. Gibbon, 640-673. Oxford: Wiley-Blackwell.
Ockelford, Adam. 2005. “Relating musical structure and content to aesthetic response: A model and analysis of Beethoven’s Piano Sonata op. 110”. Journal of the Royal Musical Association 130 (1): 74-118. https://doi.org/10.1093/jrma/fki002 DOI: https://doi.org/10.1093/jrma/fki002
Panofsky, Erwin [1938] 1982. “The History of Art as a Humanistic Discipline”. En Meaning in the Visual Arts, 184-195. Chicago: University of Chicago Press.
Potts, John. 2012. “The theme of displacement in contemporary art”. E-rea 9 (2). https://doi.org/10.4000/erea.2475 DOI: https://doi.org/10.4000/erea.2475
Parrish, William M. (1951). “The concept of “naturalness”. Quarterly Journal of Speech 37 (4): 448-454. DOI: https://doi.org/10.1080/00335635109381697
Poyatos, Fernando.1994. La comunicación no verbal. Madrid: Ediciones Istmo.
Rameau, Jean-Phlippe. [1722] 1971. Treatise on Harmony. Nueva York: Dover.
Shannon, Claude. E. y Warren Weaver. 1949. The Mathematical Theory of Communication. Urbana: University of Illinois Press.
Schenker, Heinrich. [1914] 2015. Beethoven's Last Piano Sonatas, an Edition Elucidation. Nueva York: Oxford University Press.
Schoenberg, Arnold. 1950. Style and Idea. Nueva York: Philosophical Library.
Sloboda, John. 2001. “Do psychologists have anything useful to say about composition?” En Analyse et créations musicales: Actes du 3e Congrès Européen d’Analyse Musicale (Montpellier 1995), 69-78. París: L’Harmattan.
Stevenson, Angus y Maurice Waite. 2011. Concise Oxford English Dictionary. Oxford: Oxford University Press.
Tatarkiewicz, Władisłav. 1980. A History of Six Ideas: An Essay in Aesthetics. Varsovia: Polish Scientific Publishers. DOI: https://doi.org/10.1007/978-94-009-8805-7
Thomas, Troy. 1991. “Interart analogy: Practice and theory in comparing the arts”. Journal of Aesthetic Education 25 (2): 17-36. DOI: https://doi.org/10.2307/3333069
Uscătescu, George. 2000-2001. “Lenguaje poético y musical en García Lorca”. Dacoromania 5-6: 35-51.
Zohn, Steven. 2012. Music for a Mixed Taste: Style, Genre, and Meaning in Telemann's Instrumental Works. Nueva York: Oxford University Press.