Un género cortesano en un siglo romántico:  esquemas galantes en los minuetos para guitarra  de Pedro Ximénez (1784-1856)

Zoila Elena Vega Salvatierra

doi:10.62230/antec.v5i1.109

Authors

Zoila Elena Vega Salvatierra Universidad Nacional de San Agustín de Arequipa https://orcid.org/0000-0002-6748-7648

DOI:

https://doi.org/10.62230/antec.v5i1.109

Keywords:

Peruvian guitar of 19th century, Gallant schemes, Minuet, Pedro Ximénez Abrill

Abstract

Minuet is a musical genre that received outstanding success both as a dance and as an instrumental genre in the 17th and 18th centuries, and which in turn became a compositional model that exceeded the limits of its own time and was well received by societies that assimilated, restructured and resignified it according to their own realities. The repertoire of minuets for solo guitar, written by Pedro Ximénez Abrill (1785-1856) and published in 1844, is an ideal collection to study the permanence of languages from the previous century in secular spaces such as the musical “salón sudamericano” in the Independence period. Often compared with authors like Fernando Sor or Mauro Giuliani, his contemporary guitarists, Ximénez could be related more closely, musically speaking, to Spanish composers of the previous generation. To support this idea, the first notebook of his Collection of minuets is analyzed, where melodic and nearby accompaniment structures are identified close to the gallant schemes described by Robert Gjerdingen (2014) and which were in vogue in European music in the second half of 18th century.

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Author Biography

Zoila Elena Vega Salvatierra, Universidad Nacional de San Agustín de Arequipa

She teaches musical research at the School of Arts of the National University of San Agustín de Arequipa of Peru and also teaches it in the Master of Musicology at the Pontifical Catholic University of Peru. She holds a doctorate in Social Sciences from the National University of San Agustín de Arequipa and a doctorate in Musicology from the National Autonomous University of Mexico. She is a member of the International Society of Musicology and the International Association for the Study of Popular Music-Latin American Branch. She has published Text and context of the work of Roberto Carpio in the Arequipa of the 20th century, Everyday musical life in the Arequipa of the Oncenio de Leguía 1919-1930, Music in the Cathedral of Arequipa (1609-1881) and other publications on Peruvian music in specialized journals. Her research area is South Peruvian music from the 18th to 20th centuries.

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