The relationship between classical and traditional music through the violin repertoire of the Galician Muiñeira in the 19th and 20th centuries.

从斯卡拉蒂(Clark，1976)到巴托克(Bartók，Suchoff，1971)，古典作曲家都转向传统音乐来刺激创作。然而，很少有人对这些流派的相互关联性进行评估，目前的表演方法优先于作曲家和乐谱，而不是民间起源(Onderdonk，2007)。这项研究通过加利西亚梅涅拉舞曲的视角，探讨了“艺术音乐”和“民间音乐”在多大程度上只有在相互关联的情况下才有意义(Gelbart，2007)，提出了一个问题：古典和民间传统之间的表演和作曲相互关系是什么？使用小提琴家兼作曲家曼努埃尔·基罗加、巴勃罗·萨拉萨特和安德烈斯·高斯的Muiñeiras作为案例研究，以及口头传授的同等作品，这个由实践指导的博士学位将提供第一个广泛的古典Muiñeira研究，并重新评估古典音乐和传统音乐之间的联系。Muiñeira，一种独特的加利西亚节奏，(Bal y Gay，1973)，未被研究，特别是在其传统背景之外。在探索表演和作曲领域的相互借鉴方面，还有更多的工作要做。Cancionero Musical de Galicia(福尔加，1848-1937)包含了传统的Muiñeiras，但目前还没有关于它在古典解释中表现的学术文献。经典解释对传统做法的反向影响也没有得到充分的研究。在Alvarez(1998)提出的框架基础上，我将寻找这些传统影响的古典乐曲与加利西亚传统盲人小提琴家(COPLEROS)曲目之间的共同点。继费尔南德斯(2002)、卡佩兰(2019)和费雷尔(2014)之后，我将重点关注基本上未被探索的Muiñeiras，进行一项民族志研究，包括档案研究、定性访谈和前述Muiñeiras在其原始古典形式和传统背景下的录音。我将分析它们的起源、结构和功能，以及任何变化对其在当代社会中的认知的影响。我提出的研究涉及几个当前问题：-多样性，通过探索两种音乐流派及其各自的受众是如何相关的。-平等，通过给予两种流派及其各自的社会群体同等的重视。-认同，通过质疑文化认同是如何被采用和理解的，强调对归属感的社会需求，(Lidskog，2016)。-起源，通过确定和接触旋律的起源。加利西亚音乐与其他凯尔特识别地区的音乐有许多相似之处。因此，该项目具有更广泛的应用前景。所采用的方法可以适用于其他传统音乐，为国际层面的研究奠定了基础。这将成为以一种新的方式研究和比较传统音乐和古典音乐的模板。我建议制定可转让的工作做法，这将导致对国际互联互通有更好的理解，并对更广泛的知识体系产生影响。这些发现将适用于今天的学术和表演文化，影响未来如何解释受传统影响的经典作品，有助于建立与传统同行的互惠关系，为文化知识、理解和欣赏创造新的条件。

From Scarlatti, (Clark, 1976), to Bartók, (Suchoff, 1971), classical composers have turned to traditional music for creative stimulus. However, there has been little evaluation of the interrelatedness of these genres with current performative approaches privileging composer and score over folk origin (Onderdonk, 2007). This study interrogates the extent to which 'art music' and 'folk music' are made meaningful only in relation to one another (Gelbart, 2007), through the lens of the Galician dance of the muiñeira, posing the question: What are the performative and compositional interrelationships between classical and folk traditions? Using the muiñeiras of violinist-composers Manuel Quiroga, Pablo Sarasate and Andres Gaos as case studies, alongside orally transmitted equivalents, this practice-led PhD will offer the first extensive investigation of the classical muiñeira and re-evaluate the links between classical and traditional music.The muiñeira, a specifically Galician rhythm, (Bal y Gay, 1973), is understudied, especially outside its conventional setting. There is more to be done in terms of exploring mutual borrowings within the realms of performance and composition. Cancionero Musical de Galicia, (Folgar, 1848-1937), encompasses traditional muiñeiras, but there is currently no scholarly literature on its representation within classical interpretations. The reverse influence, of classical interpretations on traditional practices, is also understudied. I am optimally positioned to evaluate these mutual transferals.Building on the framework set out by Alvarez (1998), I will search for commonalities between these traditionally influenced classical compositions and the repertoire of the traditional blind fiddlers of Galicia (copleros). Following on from Fernandez (2002), Capellan (2019), and Ferrer (2014), I will focus on the largely unexplored muiñeiras, conducting an ethnographic study including archival research, qualitative interviews, and a recording of the aforementioned muiñeiras in both their original classical form and a traditional setting. I will analyze their origin, structure, and function, and the implications any changes have on its perception within contemporary society.My proposed research engages with several current issues:- Diversity, by exploring how two musical genres and their respective audiences were related.- Equality, by assigning coequal importance to both genres and their respective social groups.- Identity, by questioning how cultural identity is adopted and understood, highlighting the social need for belonging, (Lidskog, 2016).- Origin, by ascertaining and engaging with the origins of the melodies.There are many similarities between the music from Galicia and that of other Celtic-identifying regions. Consequently, this project has a much wider application. The approach adopted can be applied to music from other traditions, creating a basis for research on an international level. This will serve as a template for approaching the study and comparison of traditional and classical music in a new way. I propose to develop transferable working practices which will lead to a greater comprehension of international connectivity and have an impact on wider bodies of knowledge. The findings will be applicable to scholarly and performance cultures today, impacting how traditionally influenced classical pieces are interpreted in future, helping to establish a reciprocal relationship with their traditional counterparts, creating new conditions for cultural knowledge, understanding, and appreciation.