Música Programática - Descriptiva - Incidental

 A partir de sucesivas entradas me propongo referenciar música que tiene referencias extra-musicales. (Pienso que de todas maneras siempre le damos un sentido o concepto ya sea emoción, idea, etc. al "estímulo sonoro")

Ahora, el asunto es aportativo, de manera que súmense. "A lo wiki!!"

En primer lugar, convengamos qué es música programática. Algo ya está dicho.

Continuará....

Continuando al otro día...

El concepto de música programática es introducido por Franz Liszt en s. XIX con sus poemas sinfónicos. Básicamente consiste una pieza musical cuya inspiración es conceptual y extra-musical, donde el recurso sonoro intenta "describir" e incluso narrar la idea que se pretende expresar. Sin embargo, lo descriptivo ya está presente en la música con Beethoven en su Sinfonía Pastoral, o Vivaldi con sus L'Estro Armonico del cual  pertenece el célebre Concierto de las Cuatro Estaciones. (Violines que imitan el trinar de pajaritos, el viento, la lluvia, etc.)

A partir de esta generalización, se refiere su contraparte, la música absoluta; aquella que es no tiene un motivo o correlato extramusical. Suele llamarse también como "música pura" (?)

A partir de este aporte de Liszt, compositores posteriores como Richard Strauss en su DOn Quijote, o Debussy en La mer expresaron en sus respectivos lenguajes musicales ideas a través de la orquestación. 

La imitación a través del discurso musical siempre ha estado presente. Françoise Couperin con su Cucú (intervalo de 3º Mayor), Chanson francesas de Janequin hacen referencia a la Guerra (Le guerre) a través de conjunto vocal. Los Madrigales (género vocal) de Gesualdo y sus recursos cromáticos avanzadísimo a su época (s. XVI) con fines expresivos acerca del texto que estaban inspirados.

La influencia en el cine, fue principalmente a través de la obra del ya citado Strauss y Giacomo Puccini. No obstante, lo incidental tiene su origen en el teatro. Desde  el Ateniense s. V antes de Cristo, el renacentista europeo, el alemán e inglés de s.XIX. Luego, el cine mudo emplea de manera intensa el acompañamiento  musical, perfilándose luego en lo que es música incidental con la llegada del audio-visual. En las sucesivas épocas no ha perdida su valor de refuerzo de una idea dramática, expresiva, decorativa, de interludio. Etc. 

Fuente: New grove dictionary. 

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La verdad es que no tenga idea de música, pero me intrigó lo que pusiste. No sé si estaré tecleando fuera del piano, pero recuerdo un llanto de mujer en los primeros acordes de "Dos días en la vida" de "El amor después del amor" de Fito Páez, que contaba la historia de la peli Thelma y Louise. ¿Estabas hablando de eso o estoy muy perdido?


Don C.


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dime ejemplos de la musica programatica porfavorrrr urgenteeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee

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Hola:

No se mucho de que va este sitio, lo encontré recientemente porque necesito profundizar en las concepciones sobre el programatismo,.

Partiendo de que toda música "programática" es "descriptiva", pero no toda la música descriptiva no es programática,¿cómo se puede considerar que un compositor no se halla prefijado una a una determinada escena o imagen, para componer su obra, aunque  conscientemente no se halla propuesto hacer "Música programática"?¿Sólo se puede considerar programático a la música que el compositor considere como tal, o aquella que se ubica en el movimiento iniciado en el romanticismo?¿No sería este criterio un poco estrecho?.

Estoy hablando sobre esto, porque existen múltiples confrontaciones sobre la clasififcación de especialistas, además de las del propio concepto del artista. Esto es bastante nebuloso todavía..

Si alguien me puede ayudar con una fuente de consulta fiable o con su opinión, lo voy a agradecer muchísimo,

Chao

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