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Choral Arrangements of Nueva Canción Chilena: Exploring Socially Committed Song in the Choral Context
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- Author / Creator
- Pauls, Allison
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The dissertation for this degree comprises this document and two public-juried recitals. These were given on June 16, 2017 at First Mennonite Church in Edmonton, Alberta and May 16, 2019 at Sargent Avenue Mennonite Church in Winnipeg, Manitoba.
The vibrancy of rhythm and impassioned sense of storytelling in Latin American singing contribute a distinctive character to the world of song. However, during the latter half of the 20th century, the stories of Chilean song were perturbed by increasing indignation towards long-standing socio-economic and political injustice. Socially committed poetry and singing became the foundation for a folk-inspired popular song movement in Chile known as Nueva Canción Chilena (NCCh) that identified with the people’s struggle. Though not originally associated with choral singing, the development of a body of choral literature constituting arrangements of NCCh points to the ongoing relevance of this repertoire. Recontextualizing poems and melodies rooted in a former socio-political climate, choral arrangements of NCCh play a part in sustaining the cultural memory of a shared political past. Furthermore, they act as a means of bringing to light significant aspects of Chilean musical identity within choral literature and, in doing so, claiming a more authentically Chilean choral voice.
The significance of NCCh within Chilean collective memory is explored through the perspectives of five present-day Chilean choral musicians. Their stories are paired with an analysis of four representative examples of NCCh arranged for choral ensemble to highlight specific markers of identity carried within each song. The originating context and poetic content of the songs link identity to socio-historical narrative. Musical identity is connected to traditional dance in Pablo Ulloa’s arrangement of “Según el favor del viento” by Violeta Parra, to the juxtaposition of duple and triple metric subdivision in William Child’s arrangement of “El Aparecido” by Víctor Jara, and to harmonic language in William Child’s arrangement of “Manifiesto” by Víctor Jara. Furthermore, diversity of choral language is explored in settings of Víctor Jara’s “Te recuerdo Amanda,” comparing choral arrangements by Eduardo Gajardo and William Child. -
- Graduation date
- Fall 2019
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- Type of Item
- Thesis
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- Degree
- Doctor of Music
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- License
- Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission.