{"title":"Viva, viva la Tirana","authors":"Aurèlia Pessarrodona","doi":"10.1525/jm.2022.39.4.469","DOIUrl":null,"url":null,"abstract":"While eighteenth-century Spanish folk airs such as the fandango and seguidilla are now gaining more recognition, there remains an important oversight: the tirana, a dance song that became particularly popular during the last third of the century onward, even inspiring foreign composers such as Luigi Boccherini, Ludwig van Beethoven, and Saverio Mercadante. Lacking a systematic study, the tirana has been regarded as a general name for Andalusian songs without clear typologies or concrete, identifying musical characteristics. Based on an analysis of approximately one hundred tiranas found in the repertoire of the old theaters of Madrid (held in the Biblioteca Histórica Municipal de Madrid) and dating from the late 1770s and 1780s, the period of development and consolidation of this dance song, this article verifies that the tirana has distinct attributes and evolved from its earliest forms, originating in Andalusia, to more complex and richer examples. In light of this analysis, it is now possible to investigate the circulation and impact of the tirana abroad in the late eighteenth century. For example, Vicente Martín y Soler’s “Viva, viva la Regina” from Una cosa rara (1786), long wrongfully considered the first onstage manifestation of the Viennese waltz, can now be identified as a tirana.","PeriodicalId":44168,"journal":{"name":"JOURNAL OF MUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.2000,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"JOURNAL OF MUSICOLOGY","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1525/jm.2022.39.4.469","RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
引用次数: 0
摘要
虽然18世纪的西班牙民谣,如fandango和seguidilla,现在得到了更多的认可,但仍然有一个重要的疏忽:tirana,这首舞曲在18世纪的最后三分之一时期变得特别流行,甚至启发了路易吉·波切里尼,路德维希·范·贝多芬和萨维里奥·梅尔卡丹特等外国作曲家。由于缺乏系统的研究,地拉那一直被认为是安达卢西亚歌曲的总称,没有明确的类型学或具体的音乐特征。根据对马德里老剧院(收藏于Histórica马德里市政图书馆)保留曲目中大约100首地拉那舞曲的分析,这些曲目可以追溯到1770年代末和1780年代,这是这首舞曲发展和巩固的时期,本文证实了地拉那舞曲具有独特的属性,并从最早的形式演变而来,起源于安达卢西亚,到更复杂和更丰富的例子。根据这一分析,现在有可能调查地拉那在18世纪后期在国外的流通和影响。例如,Vicente Martín y Soler在Una cosa rara(1786)中的“Viva, Viva la Regina”,长期以来被错误地认为是维也纳华尔兹的第一次舞台表现,现在可以确定为地拉那。
While eighteenth-century Spanish folk airs such as the fandango and seguidilla are now gaining more recognition, there remains an important oversight: the tirana, a dance song that became particularly popular during the last third of the century onward, even inspiring foreign composers such as Luigi Boccherini, Ludwig van Beethoven, and Saverio Mercadante. Lacking a systematic study, the tirana has been regarded as a general name for Andalusian songs without clear typologies or concrete, identifying musical characteristics. Based on an analysis of approximately one hundred tiranas found in the repertoire of the old theaters of Madrid (held in the Biblioteca Histórica Municipal de Madrid) and dating from the late 1770s and 1780s, the period of development and consolidation of this dance song, this article verifies that the tirana has distinct attributes and evolved from its earliest forms, originating in Andalusia, to more complex and richer examples. In light of this analysis, it is now possible to investigate the circulation and impact of the tirana abroad in the late eighteenth century. For example, Vicente Martín y Soler’s “Viva, viva la Regina” from Una cosa rara (1786), long wrongfully considered the first onstage manifestation of the Viennese waltz, can now be identified as a tirana.
期刊介绍:
The widely-respected Journal of Musicology enters its third decade as one of few comprehensive peer-reviewed journals in the discipline, offering articles in every period, field and methodology of musicological scholarship. Its contributors range from senior scholars to new voices in the field. Its reach is international, with recent articles by authors from North America, Europe and Australia, and circulation to individuals and libraries throughout the world.