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（克拉克，1976年）到巴托克（苏霍夫，1971年），古典作曲家们转向传统音乐以寻求创造性的刺激。然而，这些体裁与当前的表演方法之间的相互关系很少评估，这些表演方法将作曲家和乐谱置于民间起源之上（Onderdonk，2007）。本研究通过对加利西亚的muiñeira舞蹈的透镜来探究“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），提出了这样一个问题：古典传统和民间传统之间的表演和作曲相互关系是什么？使用小提琴作曲家曼努埃尔基罗加，巴勃罗Sarasate和Andres Gaos的muiñeira作为案例研究，以及口头传播的等价物，这个以实践为主导的博士学位将提供古典muiñeira的第一次广泛的调查，并重新评估古典音乐和传统音乐之间的联系。muiñeira，一个特定的加利西亚节奏，（Bal y Gay，1973），是欠研究，特别是在其传统设置之外。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。《加利西亚音乐剧》（Folgar，1848-1937年）包含了传统的muiñeiras，但目前还没有关于其在古典诠释中的代表性的学术文献。古典诠释对传统做法的反向影响也未得到充分研究。在阿尔瓦雷斯（Alvarez，1998）提出的框架基础上，我将寻找这些传统影响的古典作品与加利西亚传统盲人小提琴手（copleros）的曲目之间的共性。继费尔南德斯（2002），Capellan（2019）和Ferrer（2014）之后，我将专注于基本上未被探索的muiñeira，进行民族志研究，包括档案研究，定性访谈，以及上述muiñeira的原始古典形式和传统背景的记录。我将分析它们的起源，结构和功能，以及任何变化对当代社会认知的影响。我的研究涉及几个当前问题：-多样性，通过探索两种音乐类型及其各自的观众是如何联系的。平等，赋予两种类型及其各自的社会群体同等的重要性。身份，通过质疑文化身份是如何被采纳和理解的，强调归属的社会需求（Lidskog，2016）。起源，通过确定和参与旋律的起源。加利西亚的音乐和其他凯尔特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。所采用的方法可以应用于其他传统的音乐，为国际层面的研究奠定基础。这将作为一个模板，以一种新的方式接近传统和古典音乐的研究和比较。我建议制定可转移的工作实践，这将导致对国际连通性的更好理解，并对更广泛的知识体系产生影响。研究结果将适用于今天的学术和表演文化，影响传统影响的经典作品在未来的解释，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.