El modelo de frase 7–5–4 y 5–5–6 en las zambas carperas del folclore argentino
In general terms, the zamba carpera is associated with a style of zamba in faster time than the traditional ones, originating in the carnival «carpa» of the City of Salta and the Lerma Valley. Their music is presented in an agile rhythm and, very often, is performed instrumentally, by groups that in...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Universidad Nacional del Litoral
2024
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| Materias: | |
| Acceso en línea: | https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/ISM/article/view/13715 |
| Aporte de: |
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I26-R133-article-13715 |
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ojs |
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Universidad Nacional del Litoral |
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I-26 |
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R-133 |
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Biblioteca Virtual - Publicaciones (UNL) |
| language |
Español |
| format |
Artículo revista |
| topic |
zamba carpera argentine folk musical analysis zamba carpera folklore argentino análisis musical |
| spellingShingle |
zamba carpera argentine folk musical analysis zamba carpera folklore argentino análisis musical Liendro, Adrián El modelo de frase 7–5–4 y 5–5–6 en las zambas carperas del folclore argentino |
| topic_facet |
zamba carpera argentine folk musical analysis zamba carpera folklore argentino análisis musical |
| author |
Liendro, Adrián |
| author_facet |
Liendro, Adrián |
| author_sort |
Liendro, Adrián |
| title |
El modelo de frase 7–5–4 y 5–5–6 en las zambas carperas del folclore argentino |
| title_short |
El modelo de frase 7–5–4 y 5–5–6 en las zambas carperas del folclore argentino |
| title_full |
El modelo de frase 7–5–4 y 5–5–6 en las zambas carperas del folclore argentino |
| title_fullStr |
El modelo de frase 7–5–4 y 5–5–6 en las zambas carperas del folclore argentino |
| title_full_unstemmed |
El modelo de frase 7–5–4 y 5–5–6 en las zambas carperas del folclore argentino |
| title_sort |
el modelo de frase 7–5–4 y 5–5–6 en las zambas carperas del folclore argentino |
| description |
In general terms, the zamba carpera is associated with a style of zamba in faster time than the traditional ones, originating in the carnival «carpa» of the City of Salta and the Lerma Valley. Their music is presented in an agile rhythm and, very often, is performed instrumentally, by groups that include guitar, «legüero» drum and bandoneon.
In the study of his repertoire, we found two recurring types of poetic–musical phrases, which we named the 7–5–4 and 5–5–6 model. Once identified, we wondered about its possible antecedents, and its relationship with zamba melodies, both traditional and from the Argentine folklore industry.
In this way, the work exposes, first of all, the foundations of the 7–5–4 and 5–5–6 models in relation to the melodies and lyrics of the selected zambas carperas corpus. Then, taking as reference the records of Salta from the national folklore survey of the year 1921, antecedents of the model are sought in Chilean letters, the common name of the traditional zamba of the early 20th century. Next, based on the musicological texts of Carlos Vega and Isabel Aretz, traces of the model are reviewed in transcriptions of scores from their field records in the terrain of northwest Argentina. Once the traditional background has been established, examples of the zambas model of the professional folklore industry are presented.
Finally, we reflect on the models, their historical anchoring and their importance in the contribution of musicological studies referring to Argentine folklore. |
| publisher |
Universidad Nacional del Litoral |
| publishDate |
2024 |
| url |
https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/ISM/article/view/13715 |
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| first_indexed |
2024-08-13T20:37:23Z |
| last_indexed |
2024-09-04T02:30:19Z |
| _version_ |
1809230877108994048 |
| spelling |
I26-R133-article-137152024-09-02T21:54:17Z El modelo de frase 7–5–4 y 5–5–6 en las zambas carperas del folclore argentino The phrase model 7–5–4 and 5–5–6 in the «zambas carperas» of argentine folklore Liendro, Adrián zamba carpera argentine folk musical analysis zamba carpera folklore argentino análisis musical In general terms, the zamba carpera is associated with a style of zamba in faster time than the traditional ones, originating in the carnival «carpa» of the City of Salta and the Lerma Valley. Their music is presented in an agile rhythm and, very often, is performed instrumentally, by groups that include guitar, «legüero» drum and bandoneon. In the study of his repertoire, we found two recurring types of poetic–musical phrases, which we named the 7–5–4 and 5–5–6 model. Once identified, we wondered about its possible antecedents, and its relationship with zamba melodies, both traditional and from the Argentine folklore industry. In this way, the work exposes, first of all, the foundations of the 7–5–4 and 5–5–6 models in relation to the melodies and lyrics of the selected zambas carperas corpus. Then, taking as reference the records of Salta from the national folklore survey of the year 1921, antecedents of the model are sought in Chilean letters, the common name of the traditional zamba of the early 20th century. Next, based on the musicological texts of Carlos Vega and Isabel Aretz, traces of the model are reviewed in transcriptions of scores from their field records in the terrain of northwest Argentina. Once the traditional background has been established, examples of the zambas model of the professional folklore industry are presented. Finally, we reflect on the models, their historical anchoring and their importance in the contribution of musicological studies referring to Argentine folklore. En términos generales, la zamba carpera se asocia a un estilo de zamba en tiempo más veloz que las tradicionales, con origen en las carpas de carnaval de la ciudad de Salta y el Valle de Lerma. Su música se presenta en ritmo ágil y, muy frecuente, se interpreta de forma instrumental, por conjuntos que incluyen guitarra, bombo legüero y bandoneón. En el estudio de su repertorio, encontramos dos tipos de frase poético–musical recurrentes, al que nombramos como modelo 7–5–4 y 5–5–6. Una vez identificado, nos preguntamos por sus posibles antecedentes, y su relación con las melodías de zambas, tanto tradicionales como de la industria del folclore argentino. De esta manera, el trabajo expone, en primer lugar, los fundamentos de los modelos 7–5–4 y 5–5–6 en relación con las melodías y letras del corpus de zambas carperas seleccionadas. Luego, tomando como referencia los registros de Salta de la Encuesta Nacional de Folklore del año 1921, se buscan antecedentes del modelo en letras de chilenas, nombre común de la zamba tradicional de principios de siglo XX. Seguidamente, en base a los textos musicológicos de Carlos Vega e Isabel Aretz, se revisan huellas del modelo en transcripciones de partituras de sus registros de campo en el terreno del noroeste argentino. Establecidos los antecedentes tradicionales, se presentan ejemplos del modelo en zambas de la industria del folclore profesional. Por último, se reflexiona acerca de los modelos, su anclaje histórico y su importancia en la contribución de los estudios musicológicos referidos al folclore argentino. Universidad Nacional del Litoral 2024-07-04 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf application/zip text/html https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/ISM/article/view/13715 10.14409/rism.2024.25.e0059 Revista del ISM; Núm. 25 (2024): Revista del Instituto Superior de Música; e0059 Revista del ISM; No. 25 (2024): Revista del Instituto Superior de Música; e0059 2362-3322 1666-7603 10.14409/rism.2024.25 spa https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/ISM/article/view/13715/19121 https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/ISM/article/view/13715/19122 https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/ISM/article/view/13715/19123 Derechos de autor 2024 Revista del ISM |