Accords et désaccords. Pratiques et représentations de la guitare à Madrid et en Andalousie de 1883 à 1922

Abstract : During the transition from the nineteenth to the twentieth centuries, when the question of national identity is continuing to develop in Spain, the guitar is repeatedly mentioned as the “national instrument”. This platitude ultimately proves to be a paradoxical symbol of an identity that is still under debate during this period. While stereotypical descriptions caricature the reality by oversimplifying it, on the contrary, guitar practices diversify during the Restoration, because of technical changes in the instrument and the evolution of folk, classical and flamenco music. The composition in 1920 by Manuel de Falla of the first piece for solo guitar (Homenaje a Debussy) and the organization of the First Contest of the Cante Jondo in Granada in 1922 testify to the gradual recognition of the instrument. Yet the proliferation of printed matter, favored by the freedom of the press law (1883), gives rise to numerous literary and visual representations of the guitar that do not accurately reflect these changes. They mostly bring out its popular, Andalusian and even flamenco character, and its ability to impregnate the imagination. Published in periodicals in Madrid or Andalusia, these works influence the reception of the instrument: it is both appreciated by an increasingly wide audience, disregarded for being absent from museums and institutions, and rejected by social and moral standards because of its presence in decried places. Yet, even when this stereotype is disputed, the guitar takes on an original symbolic dimension, rooted in everyday life, which manifests itself through the emotions it provokes.
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Vinciane Trancart. Accords et désaccords. Pratiques et représentations de la guitare à Madrid et en Andalousie de 1883 à 1922. Littératures. Université de la Sorbonne nouvelle - Paris III, 2014. Français. ⟨NNT : 2014PA030100⟩. ⟨tel-01179625⟩

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