Análisis de tres estilos: Guillot, Toña la Negra y Dipiní, para la interpretación del Bolero
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Resumen
The characteristics of the Curricular Project of Musical Arts of the Faculty of Arts ASAB and the singing professorship of the same, have allowed some vocal music interpreters to have greater access to popular music. Therefore, it is necessary that the Curricular Project and the aforementioned professorship provide elements of analysis for the interpretation of these genres and in this particular case, of a manifestation of popular music as important as the bolero. This genre has been one of the most widespread Afro-Cuban expressions throughout Latin America. A large number of performers and composers have dedicated part of their lives to this genre, whose birth is attributed to a derivation of the Cuban danzón. Although it is true that the bolero as a romantic song was born in Cuba, where it developed reaching its golden age in the 1940s, its relevance in Mexico and Puerto Rico was also significant. This project establishes three singers born in these countries as a fundamental axis to carry out a comparative analysis of three different styles of bolero interpretation. The aim is then to develop an analysis of the interpretation of each singer to establish particularities, differences, similarities in their respective forms of interpretation, examine phrasing, timbre of their voices, expressiveness, articulation, sound emission, homogeneity in the register, resonance, register used, among others. Based on the analysis and pertinent observations, a text will be created that defines, compares, and characterizes elements derived from the analysis, and in parallel, a personal interpretation of three boleros by each singer will be developed. This interpretation will be constructed with elements taken from the analysis of the interpreters and with the possibilities and musical proposals of the student.