Bibliographic citations
Acosta, M., (2023). El proceso de construcción del género musical tunantada al estilo de Yauyos con base en la relación entre la composición y la ejecución del saxofón (1940 - 2018) [Pontificia Universidad Católica del Perú]. http://hdl.handle.net/20.500.12404/25089
Acosta, M., El proceso de construcción del género musical tunantada al estilo de Yauyos con base en la relación entre la composición y la ejecución del saxofón (1940 - 2018) []. PE: Pontificia Universidad Católica del Perú; 2023. http://hdl.handle.net/20.500.12404/25089
@misc{renati/12071,
title = "El proceso de construcción del género musical tunantada al estilo de Yauyos con base en la relación entre la composición y la ejecución del saxofón (1940 - 2018)",
author = "Acosta Cabrera, Mariana Alejandra",
publisher = "Pontificia Universidad Católica del Perú",
year = "2023"
}
In this work it is analized how the relationship between the composition and the performance of the saxophone has built the musical genre called tunantada, which derives from a traditional dance of Jauja named the same. The musical style of the Yauyos festival has been chosen because it is the one with the greatest influence today and the most widespread. In addition, there is more phonographic evidence in this style, which was used in this research. It is proposed that the positioning of the saxophone as the main sound in the typical orchestra of the Center –at the beginning of the 20th century– has made this instrument the reference and fundamental support for the expression of the “tunantada feeling”. The tunantada and the saxophone are in a symbiotic relationship that requires knowledge of certain complexities of their musical language by instrumentalists who wish to perform this genre. This paper explains the social and economic context of the Mantaro Valley, which favored constant cultural innovation and the incorporation of foreign instruments to its local traditions to the point of being considered traditional. Then it is defined tunantada from various authors. Later, thanks to a meticulous listening and transcription work, technical details of the performance of the saxophone in this music are described. Finally, four stages of aesthetic currents that coexisted within the development of the music of the tunantada from 1940 to 2017 are identified.
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