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Publication Date

2009-05-14

Availability

UM campus only

Degree Type

Doctoral Essay

Degree Name

Doctor of Musical Arts (DMA)

Department

Keyboard Performance (Music)

Date of Defense

2009-04-17

First Committee Member

J. B. Floyd - Committee Chair

Second Committee Member

Ivan Davis - Committee Member

Third Committee Member

Rafael Padron - Committee Member

Fourth Committee Member

Tian Ying - Committee Member

Abstract

The term nationalism in music usually refers to a movement from the nineteenth and early twentieth centuries, and is most often employed to describe the various European national schools that included folk elements in their music and consciously tried to separate themselves from the standards set in the Classical period by the French, Italian and especially the German traditionalists. In Latin America there was also a development of nationalism in music in the twentieth century. Countries from this continent, once politically independent, became interested in solidifying and glorifying their national identities. This essay will discuss the history and tradition of Venezuelan folk and academic music through the guitar compositions of Antonio Lauro, who was best known for his nationalistic trend to rescue and to celebrate the Venezuelan nation's musical traditions. I have also chosen eight waltzes and the Suite Venezolana for guitar by the same composer, which are both representative works of Venezuelan academic and folklore music, and I have created a piano transcription. Aiming a new inclusion and expansion of the stagnant Venezuelan piano repertoire, with my hope they become useful compositions for the pianists' personal study and aid.

Keywords

Guitar-piano Transcriptions; Suite Venezolana For Guitar; Piano Transcriptions; Antonio Lauro; Venezuelan Music; Lauro Wlatzes For Guitar

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