Maria Grever

VOICES FROM MEXICO:
INTERPRETATIVE TRACKING OF SONGS BY MARÍA GREVER AND

MANUEL MARÍA PONCE FROM MUSIC SINGERS
20TH CENTURY MEXICAN
ÁNGELA MARÍA VELANDIA BASTIDAS
NATIONAL PEDAGOGICAL UNIVERSITY OF COLOMBIA

FACULTY OF FINE ARTS
DEPARTMENT OF MUSIC EDUCATION
BACHELOR'S DEGREE IN MUSIC
BOGOTA DC 2019
VOICES FROM MEXICO:
INTERPRETATIVE TRACKING OF SONGS BY MARÍA GREVER AND
MANUEL MARÍA PONCE FROM MUSIC SINGERS
20TH CENTURY MEXICAN
ÁNGELA MARÍA VELANDIA BASTIDAS

CODE: 2014275039
DEGREE WORK TO OPT FOR THE DEGREE OF DEGREE IN MUSIC
ADVISOR
ALEXANDRA ÁLVAREZ YEPES
NATIONAL PEDAGOGICAL UNIVERSITY OF COLOMBIA

FACULTY OF FINE ARTS
DEPARTMENT OF MUSIC EDUCATION
BACHELOR'S DEGREE IN MUSIC
BOGOTA DC 2019
DEDICATION
Dedicated to my beloved parents who have always supported me in this wonderful world of
teaching and music.
THANKS
To God for giving me the joy of studying the career that I so desired, for being my guide and
hope.
To my father because from a very young age he cultivated in me the love of music.
To my mother for giving me, through her example, the necessary tools to be a responsible,
intelligent and correct woman.
To my singing teachers Marisa Pérez and Silvia Ortega who, with their love and wonderful
talent, guided my path from the beginning and were a fundamental part of my training as a
singer.
To teacher Perla Orrantia for having shown me the beautiful world of Mexican music and its
incredible culture. For giving me your time to share your knowledge, files and other elements
that contributed to the completion of this work.
To Luis Eduardo Quintero, friend and Mexican guitarist, who contributed with his time from his
beloved country, in collecting the scores for the development of this work.
To Miguel Cervantes, dear Mexican friend, for supporting me emotionally from so far away and
for responding to my requests for documents, films and videos of Mexican music.
To my teacher Alexandra Álvarez, for welcoming me in the final stretch of my career, because
through her love for teaching she supported me and transmitted her knowledge to me in the
amazing technique of lyrical singing. For guiding this work with your knowledge and
interpretive journey.
To my friend Aura Guayambuco, graduate in music, who contributed significantly to this work
with her experience and methodological knowledge.
To those teachers who were part of my training throughout my university career.
To the National Pedagogical University of Colombia, my alma mater , for giving me the tools to
function as a professional, to assume the future and the responsibility of what it means to be a
teacher in my country.
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Code: FOR020GIB Version: 01
Approval date: 10-10-2012 page 1 of 2
1. General Information
Document type DEGREE WORK
Document access NATIONAL PEDAGOGICAL UNIVERSITY, LIBRARY, FACULTY OF FINE ARTS
VOICES OF MEXICO: INTERPRETATIVE TRACKING OF SONGS BY MARÍA

Document title
GREVER AND MANUEL MARÍA PONCE FROM MEXICAN MUSIC SINGERS OF THE
20TH CENTURY.
Author(s) VELANDIA BASTIDAS, ÁNGELA MARÍA
Director ALEXANDRA ÁLVAREZ YEPES
Publication BOGOTÁ, NATIONAL PEDAGOGICAL UNIVERSITY, 2019.
Sponsoring Unit NATIONAL PEDAGOGICAL UNIVERSITY, UPN.

MEXICAN SONG, BOLERO, VOCAL INTERPRETATION, SINGING,
Keywords
INTERPRETATIVE TRACKING.
2. Description
Degree work that proposes to carry out a historical tracing or monitoring of the vocal characteristics that determine the interpretation
of the bolero genres and the Mexican song, based on the interpretative discourse established by Mexican music singers of the 20th
century.
3. Sources
•MENDOZA, VICENTE T. (1984), Panorama of the traditional music of Mexico, Mexico: Institute of aesthetic research, studies and
sources of art in Mexico.
•MENDOZA, VICENTE T. (1961), The Mexican song, classification and anthology essay, Mexico: Institute of Aesthetic Research,
National Autonomous University of Mexico.
•RICO SALAZAR, JAIME (1988) One Hundred Years of Boleros, second edition.
4. Contents
In the first chapter are all the preliminaries: within the problem statement, the delimitation of the topic, the research question, the
objectives, the justification and their respective key words are outlined.
General objective
Recognize the characteristic historical features of the vocal interpretation of the selection of songs by María Grever and Manuel M.
Ponce during the 20th century.
Specific objectives
•Evince the historical factors influential in the configuration of the interpretative discourse of the Mexican song and the bolero.
•Identify a specific repertoire of the compositions of María Grever and Manuel M. Ponce and the performers who sang these
throughout the 20th century.
•Analyze the selected repertoire based on categories that allow extracting the necessary information.
The second chapter contains a historical compilation about the structural configuration of the bolero and Mexican song genres. There
is information about the background and emergence of genres, metrics, forms, organologies, main exponents, among other
significant data. In addition, there are biographical data of the Mexican composers taken for this research: María Grever and Manuel
M. Ponce.
To complement the historical compilation, the third chapter proposes a methodological route that allows the development of this
research. As a first step, a repertoire is selected that is part of the archive of the named composers.
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Code: FOR020GIB Version: 01
Approval date: 10-10-2012 Page 2 of 2
previously. The oldest scores belonging to that repertoire are compiled and recordings by different Mexican performers dating from
the 20th century are selected. There are also established categories of analysis that allow the information to be extracted to reach the
interpretive discourse.
Thus, we reach the fourth chapter where the entire development of the analysis categories is found, applied to two or three
interpretations of each song chosen from the repertoire. Later on, a second level of analysis is carried out, with the same categories, but
this already allows us to find the mutable and stable elements within each genre and thus reach the conclusions set out in the fifth
chapter.
5. Methodology
The methodology used emerged during the development of the work. Some analysis categories were established that made it possible
to find the information to carry out this analysis. The categories were:
Technical sheet of the song
• Interpreter
• Recording year
• Gender
1. Musical structure:
I. Tonality
II. Shape
III. Harmony
IV. Dynamic
V. Rhythm
VI. Accompaniment format
2. Interpretation:
I. Technical aspect:
i. Vibrato
ii. Sonority
iii. Diction
iv. Text
II. Stylistic aspect:
i. Phrasing
ii. Ornaments
iii. Melody
6. Conclusions
The interpretive discourse of the bolero has great flexibility in its elements such as the sound, the phrasing, the ornaments used, the
form or the accompaniment format. In contrast to the Mexican song, where its elements are given in the score, there are no timbral
modifications, neither in form nor in phrasing. All of this is the result of cultural hybridization and the convergence of musical
identities over the years.
My initial concern was resolved and as a result I understood that there are no right or wrong interpretations, but rather there is a style
with defined characteristics, but within this, the interpreter has the freedom to choose what elements to take and when to take them.
Produced by: Angela Maria Velandia Bastidas
Reviewed by: GL Glo

Summary preparation date: 9 March 2020
2
Content
DEDICATION................................................................................................................................3
THANKS........................................................................................................................................4
Content...................................................................................................................................................7
Table index...................................................................................................................................10
Summary.......................................................................................................................................11
1. Preliminaries: Problem statement..........................................................................................13
1.1 Delimitation of the topic....................................................................................................13
1.2 Research question..............................................................................................................13
1.3 Goals..................................................................................................................................13
1.3.1 General objective...........................................................................................................13
1.3.2 Specific objectives.........................................................................................................13
1.4 Justification........................................................................................................................13
1.5 Keywords...........................................................................................................................14
2.1 Historical component.........................................................................................................14
2.1.1 Mexican song.................................................................................................................14
2.1.2 Bolero.............................................................................................................................17
2.1.3 Interpretation..................................................................................................................21
2.2 State of the art: Who were María Grever and Manuel M. Ponce?.....................................24
2.2.1 Maria Grever..................................................................................................................24
2.2.2 Manuel M. Ponce...........................................................................................................24
3. Methodology: Musical-interpretive analysis.........................................................................25
3.1 Repertoire selection...........................................................................................................25
3.2 Analysis of the selected repertoire.....................................................................................26
4. Development..........................................................................................................................27
4.1 First level of analysis: Description....................................................................................27
4.1.1 Boleros by María Grever................................................................................................27
4.1.1.1 Song: Soul of mine.....................................................................................................27
Recording year: 1972....................................................................................................................27
1. musical structure....................................................................................................................27
2. Interpretation:........................................................................................................................28
Recording year: 1955....................................................................................................................30
Genre: Waltz 3/4...........................................................................................................................30
2. Interpretation:........................................................................................................................32
4.1.1.2 Song: Gypsy Lament........................................................................................................34
Recording year: 1933....................................................................................................................34
2. Interpretation:........................................................................................................................34
Recording year: 1948....................................................................................................................36
2. Interpretation:........................................................................................................................37
4.1.1.3 Song: I love you, you said................................................................................................37
Recording year: 1932....................................................................................................................37
2. Interpretation:........................................................................................................................38
Recording year: 1953....................................................................................................................40
2. Interpretation:........................................................................................................................40
Recording year: 1954....................................................................................................................42
2. Interpretation:........................................................................................................................42
4.1.1.4 Song: You don't love me anymore....................................................................................44
Recording year: 1972....................................................................................................................44
2. Interpretation:........................................................................................................................45
Recording year: 1953....................................................................................................................46
2. Interpretation:........................................................................................................................46
Recording year: 1948....................................................................................................................48
2. Interpretation:........................................................................................................................48
4.1.2 Mexican academic songs by Manuel María Ponce..............................................................50
4.1.2.1 Song: On the edge of a palm grove............................................................................50
Recording year: 1960....................................................................................................................50
2. Interpretation:........................................................................................................................50
Recording year: 1991....................................................................................................................52
2. Interpretation:........................................................................................................................52
4.1.2.2 Song: Little Star................................................................................................................54
Recording year: 1933....................................................................................................................54
2. Interpretation:........................................................................................................................54
Recording year: 1991....................................................................................................................56
2 Interpretation:.............................................................................................................................56
4.1.2.3 Song: Far from you...........................................................................................................58
Recording year: 1959....................................................................................................................58
2. Interpretation:........................................................................................................................58
Recording year: 1991....................................................................................................................60
2 Interpretation:.............................................................................................................................60
4.1.2.4 Song: Wither the soul.......................................................................................................62
Recording year: 1959....................................................................................................................62
2. Interpretation:........................................................................................................................62
Recording year: 1991....................................................................................................................64
2 Interpretation:.............................................................................................................................64
4.2 Second level of analysis: Comparison....................................................................................66
4.2.1 boleros musical structure...................................................................................................67
Interpretive speech in boleros.......................................................................................................69
Mutable elements..........................................................................................................................69
stable elements..............................................................................................................................69
4.2.2 Musical structure Mexican songs............................................................................................71
Interpretive discourse in Mexican songs......................................................................................73
stable elements..............................................................................................................................73
5. Conclusions: Voices of Mexico in the 20th century.................................................................75
Glossary........................................................................................................................................80
Bibliography.................................................................................................................................84
• NATIONAL EARTH SCIENCE TEACHERS ASSOCIATION (2012) Windows to the
Universe........................................................................................................................................85
Annexes........................................................................................................................................86
Table index
DEDICATION................................................................................................................................3
THANKS........................................................................................................................................4
Content...................................................................................................................................................7
Table index...................................................................................................................................10
Summary.......................................................................................................................................11
1. Preliminaries: Problem statement..........................................................................................13
1.1 Delimitation of the topic....................................................................................................13
1.2 Research question..............................................................................................................13
1.3 Goals..................................................................................................................................13
1.3.1 General objective...........................................................................................................13
1.3.2 Specific objectives.........................................................................................................13
1.4 Justification........................................................................................................................13
1.5 Keywords...........................................................................................................................14
2.1 Historical component.........................................................................................................14
2.1.1 Mexican song.................................................................................................................14
2.1.2 Bolero.............................................................................................................................17
2.1.3 Interpretation..................................................................................................................21
2.2 State of the art: Who were María Grever and Manuel M. Ponce?.....................................24
2.2.1 Maria Grever..................................................................................................................24
2.2.2 Manuel M. Ponce...........................................................................................................24
3. Methodology: Musical-interpretive analysis.........................................................................25
3.1 Repertoire selection...........................................................................................................25
3.2 Analysis of the selected repertoire.....................................................................................26
4. Development..........................................................................................................................27
4.1 First level of analysis: Description....................................................................................27
4.1.1 Boleros by María Grever................................................................................................27
4.1.1.1 Song: Soul of mine.....................................................................................................27
Recording year: 1972....................................................................................................................27
2. Interpretation:........................................................................................................................28
Recording year: 1955....................................................................................................................30
Genre: Waltz 3/4...........................................................................................................................30
2. Interpretation:........................................................................................................................32
4.1.1.2 Song: Gypsy Lament........................................................................................................34
Recording year: 1933....................................................................................................................34
2. Interpretation:........................................................................................................................34
Recording year: 1948....................................................................................................................36
2. Interpretation:........................................................................................................................37
4.1.1.3 Song: I love you, you said................................................................................................37
Recording year: 1932....................................................................................................................37
2. Interpretation:........................................................................................................................38
Recording year: 1953....................................................................................................................40
2. Interpretation:........................................................................................................................40
Recording year: 1954....................................................................................................................42
2. Interpretation:........................................................................................................................42
4.1.1.4 Song: You don't love me anymore....................................................................................44
Recording year: 1972....................................................................................................................44
2. Interpretation:........................................................................................................................45
Recording year: 1953....................................................................................................................46
2. Interpretation:........................................................................................................................46
Recording year: 1948....................................................................................................................48
2. Interpretation:........................................................................................................................48
4.1.2 Mexican academic songs by Manuel María Ponce..............................................................50
4.1.2.1 Song: On the edge of a palm grove............................................................................50
Recording year: 1960....................................................................................................................50
2. Interpretation:........................................................................................................................50
Recording year: 1991....................................................................................................................52
2. Interpretation:........................................................................................................................52
4.1.2.2 Song: Little Star................................................................................................................54
Recording year: 1933....................................................................................................................54
2. Interpretation:........................................................................................................................54
Recording year: 1991....................................................................................................................56
2 Interpretation:.............................................................................................................................56
4.1.2.3 Song: Far from you...........................................................................................................58
Recording year: 1959....................................................................................................................58
2. Interpretation:........................................................................................................................58
Recording year: 1991....................................................................................................................60
2 Interpretation:.............................................................................................................................60
4.1.2.4 Song: Wither the soul.......................................................................................................62
Recording year: 1959....................................................................................................................62
2. Interpretation:........................................................................................................................62
Recording year: 1991....................................................................................................................64
2 Interpretation:.............................................................................................................................64
4.2 Second level of analysis: Comparison....................................................................................66
4.2.1 boleros musical structure...................................................................................................67
Interpretive speech in boleros.......................................................................................................69
stable elements..............................................................................................................................69
4.2.2 Musical structure Mexican songs............................................................................................71
Interpretive discourse in Mexican songs......................................................................................73
stable elements..............................................................................................................................73
5. Conclusions: Voices of Mexico in the 20th century.................................................................75
Glossary........................................................................................................................................80
Bibliography.................................................................................................................................84
• NATIONAL EARTH SCIENCE TEACHERS ASSOCIATION (2012) Windows to the
Universe........................................................................................................................................85
Annexes........................................................................................................................................86
Summary
Investigating the historical context of a region allows us to know the influential factors in the
configuration of characteristics in art, and in this case specifically in music, extremely important
characteristics are found that frame the style of a given era. This is the case of boleros and
Mexican songs, genres that had a great boom in the last century and that were selected to carry
out this research due to their cultural proximity and special reception in our country.
In this way, in this work a historical tracing (or monitoring) is carried out throughout the 20th
century, a tracing that shows the interpretive characteristics that marked the vocal style of the
time. For this, the following chapters are developed that show the entire path traveled and the
conclusions of an interpretive discourse.I which allows you to sing these songs taking into
account all the characteristics that frame your own style.
In the first chapter are all the preliminaries: within the problem statement, the delimitation of the
topic, the research question, the objectives, the justification and their respective key words are
outlined.
The second chapter contains a historical compilation about the structural configuration of the
bolero and Mexican song genres. There is information about the background and emergence of
genres, metrics, forms, organologies, main exponents, among other significant data. In addition,
there are biographical data of the Mexican composers taken for this research: María Grever and
Manuel M. Ponce.
To complement the historical compilation, the third chapter proposes a methodological route that
allows the development of this research. As a first step, a repertoire is selected that is part of the
archive of the composers named above. The oldest scores belonging to that repertoire are
compiled and recordings by different Mexican performers dating from the 20th century are
selected. There are also established categories of analysis that allow the information to be
extracted to reach the interpretive discourse.
Thus, we reach the fourth chapter where the entire development of the analysis categories is
found, applied to two or three interpretations of each song chosen from the repertoire. Later on, a
second level of analysis is carried out, with the same categories, but this already allows us to find
I Emission of a musical message with characteristics determined by the stylistic configuration of the genre.
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the mutable and stable elements within each genre and thus reach the conclusions set out in the
fifth chapter.
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1. Preliminaries: Problem statement
1.1 Delimitation of the topic
This research work is based on the historical interpretative tracing of the selection of songs by
María Grever and Manuel M. Ponce, specifically in the Mexican song and bolero genres, based
on Mexican music singers of the 20th century. The purpose of this work is to make visible the
characteristic historical features of the vocal interpretation of these two genres of Mexican music
for my own artistic and pedagogical work. This is an artistic investigation for interpretive
purposes that has three phases: the first is a historical component that is built by consulting texts
and documents that show the basic and structural configuration of each genre. As a second phase,
the selection of a repertoire is carried out that allows the characteristics of each genre to be
identified. As a third phase, a musical-interpretive analysis of four songs by genre, performed by
different Mexican music singers, is carried out. With this, the stable and mutable points within
each interpretation can be evidenced.
1.2 Research question

What are the vocal and stylistic characteristics that determine the interpretation of the selected
Mexican songs, taking as reference the interpretative discourse established by Mexican music
singers of the 20th century?
1.3 Goals
1.3.1 General objective
Recognize the characteristic historical features of the vocal interpretation of the selection of songs
by María Grever and Manuel M. Ponce during the 20th century.
1.3.2 Specific objectives
• Evidence the influential historical factors in the configuration of the interpretative

discourse of the Mexican song and the bolero.
• Identify a specific repertoire of the compositions of María Grever and Manuel M. Ponce
and the performers who sang these throughout the 20th century.
• Analyze the selected repertoire based on categories that allow the necessary information to
be extracted.
1.4 Justification
Mexican music represents an important part of the repertoire of our popular musicians and within
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our Colombian musical culture, genres such as bolero and Mexican song, came to our side of the
continent to express feelings and show part of this brother country.
However, the documentation that records the development of bolero and Mexican song in our
country is quite scarce and even more so, the historical tracing of the interpretation of these two
genres is difficult to access, so vocal interpretative reconstruction tends to be lacking. of aesthetic
sources that serve as solid reference points for the creation of said interpretation. Due to this, the
interpretations that are produced and constructed in our country lack solid and reliable bases if we
seek to go to the root of the stylistic configuration of these genres.
Likewise, the fact that music is disseminated between one country and another tends to produce
transformations in the interpretation of the works. Factors such as cultural hybridization, social
and economic condition and the media are determining factors in analyzing the style of music
interpretation. Beginning to perform this music in a place different from its origin causes its
endemic interpretive characteristics to begin to permeate and change. It is very important for my
construction as an artist and pedagogue and as a musician who is knowledgeable and respectful of
the traditional music of any region, to preserve these endemic interpretive characteristics, in this
way this research arises.
Now, the interpretation of these two genres constitutes a basic element within the training of
singers since, being a very familiar repertoire for the majority of singing students, it allows the
development of fundamental technical elements in the initiation of this discipline. Within the
study plan of the singing department of the National Pedagogical University of Colombia, the
interpretation of these genres is stipulated in the first semesters, so this work will serve as an
interpretive guide for said students.
1.5 Keywords
• Interpretation, Mexican song, bolero.

2. Theoretical framework
2.1 Historical component
2.1.1 Mexican song
When referring to the term Mexican song , we are talking about a specific genre within the
traditional vocal music of Mexico. In the book Mexican Popular Song, the above is supported by
expressing that this exists “in the same way that we talk about the German lied, the French song,
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the Italian romance or the Havana dance” (Kury and Mendoza, 1992, p.51). In this way the genre
is established in the popular framework and is given the category of academic music.
Vicente Mendoza, author of The Mexican Song, Classification Essay and Anthology, says that
“the creation of a song as a folkloric phenomenon is the same in all countries on earth” (Mendoza,
1961, p. 17). This refers to the fact that music composers are those people who know music and
who have adopted their knowledge from cultural traditions and specifically in Latin America,
they come from Spanish culture through the Catholic evangelizers who arrived in the 16th
century.
Héctor Vega in his article for the virtual magazine HAOL, Traditional Mexican music: between
folklore, tradition and world music states that “Mexican traditional music is the product of a
process of interculturality that occurs in a context of constant migrations.” ” (Vega, 2010, p. 156)
where the capacity for cultural creation from all these processes is latent and is transformed to
give rise to artistic manifestations that have allowed these traditional musical genres to be
established with their own characteristics.
Before the arrival of the Spanish to Mexican territory, there was already a musical tradition,
indigenous songs that were transmitted orally and of which there is no clear record, but its
existence is known from written narratives of people of the time. The book Panorama of the
traditional music of Mexico shows us how “The native texts began to suffer interpolations of
words and exclamations; the scales were enriched with sounds: the dances, with changes; the
songs, with choruses.” (Mendoza, 1984, p. 9) and that just as new products began to be grown in
the countryside, music began to bear new fruits.
Spanish traditions began to move and establish themselves in Mexican culture, of course
undergoing modifications that allowed their ancestral essence to be preserved. “Three centuries of
colonial life left an indelible mark” (Mendoza, 1984, p. 8) in which Mexican music reflects
polyphony, crosstalk, disconcerting, false snare drums and all the resources that European
religious music used. “It was precisely during the years in which Spanish romanticism had
already deeply influenced our poets” (Mendoza, 1961, p. 35), desires for freedom began to be
spread.
“Colonial life concludes at the end of the 18th century with the appearance, development and
flowering of the scenic tonadilla, a pure and pure Spanish choreographic lyrical theater”
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(Mendoza, 1984, p. 12). It was around these years that a new genre began to filter into the country
that would definitively mark the style and interpretative discourse of the region's music.
According to the data recorded in the thesis Lied and Mexican art song (Carvajal, 2017, p. 44),
after the wars of independence, the Principal Theater was built in Mexico City, a place that
allowed the dissemination of different art forms.
It is interesting to know that since the end of the 18th century and the beginning of the 19th
century, Italian operas were performed in Mexico (Mendoza, 1961, p. 35), this allowed bel canto
to be well received and society began to appropriate it. Not only the style of singing generated a
stir, but also the poetic content, the plots of the operas encouraged and filled the Mexican people
with sentimentality and fantasy.
This music began to spread quickly through the provincial cities and the countryside, “especially
towards the interior, towards the Bajío, where it underwent transformations through the
temperament of our peasants” (Mendoza, 1961, p. 36), that is, that the musicians of the region
began to perform this type of music, imitating cadences and other characteristics, but they were
adding their sentimental touch. When we talk about Bajío, we are referring to a geographical area
of Mexico, located in the center of the country, which includes the states of Aguascalientes,
Jalisco, Guanajuato and Querétaro, the place where the Mexican song originated.
Mendoza (1961, p. 45) states the following:
By passing through the soul of the Mexican the two aforementioned ingredients: Italian-
style melody with all the features that were peculiar to it as an operatic romance, and
literary text with the characters of the romanticism prevailing during the second quarter of
the 19th century, the song lyrically he outlined his personality until he imposed himself.
Another term with which the Mexican song can be determined is Art Song , due to the concept it
has in relation to Latin American art songs: Poems set to music.
With respect to the established form for the Mexican song, it can be schematized according to
Mendoza (1961, p. 45) as follows:
The structure consists of two periods
First period: divided into two semi-periods or four members
First half period: M _________m _____
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Second half period: N _______n ______
Second period: equally divided into two semi-periods or four members
First half period: O _________either __
Second half period: N _______n ______(Ritornelo)
Literally speaking, each period is a stanza of two hendecasyllabic verses (generally).
It is beginning to become evident that almost all the composers of the time wrote art songs,
among them are José Rolón (1876-1945), Manuel M. Ponce (1882-1948), María Grever (1885-
1951) who was the first Mexican woman composer who transcended internationally, Silvestre
Revueltas (1899-1940), Salvador Contreras (1912-1982), Luis Sandi (1905-1996) , “trips abroad
–essentially updating and perfecting– were a constant characteristic among the composers”
(Carvajal, 2017, p. 51), all of them were interested in contributing elements to Mexican chamber
music and in the constant updating of the song in Mexico.
After all this, in the words of Hector Vega (2010, p. 159):
We are talking about the creation of traditional music in Mexico always occurring in the
context of a complex, diverse, multicolored society; which allows, in an environment of
cultural interaction, the generation of popular musical expressions that over the centuries
become tradition.
To develop the following concept, the rest of the research work and to conclude this concept I
quote Mendoza (1984, p. 15) saying the following:
The popular song, the Mexican song, symbol of our existence as a country, contains
within itself the entire past, present and future of Mexico, all the sacrifices of our
aborigines, the heroism of the conquerors, the patience of the missionaries and the tears
and smiles of our parents.
2.1.2 Bolero
In order to talk about the bolero in Mexico it is necessary to refer to its origins. The bolero was
created in Cuba, at the beginning of the 20th century, and just like the Mexican song, the bolero is
also the result of a crossing of cultures that leave their part for the configuration of what would
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turn out to be the interpretive style of this genre. . Tony Évora, author of The Book of Bolero, says
that “ the bolero took on a naturalization card in Mexico ” (Évora, 2001, p. 13) because it was
there where it was developed through the interpretations of Mexican musicians who made it
visible in the cinema and radio in the mid-20th century.
“The bolero is the result of the combination of dance and contradanza of European origin, and
Caribbean Antillean music from Cuba” (Peza 2001 cited by Podesta, 2007, p. 98) but also, in its
beginnings, The genre adopted elements of the operatic romance, the danzón, the song-waltz, the
clave, the son, the fox-trot and even the blues according to Évora (2001), elements that lead to
deducing the great existing hybridization and the different types of style that the genre can have.
Contradanza arrived in Havana in the first decade of the 1800s, a genre that was not very well
received by Cubans since, coming from the French invasion of a Spanish island, they said it was a
diabolical invention. But little by little it was filled with all those African colors coming from the
black slaves that the French brought to Cuba and “el cinquillo” was added, a resource that gave a
letter of residence to this new genre that emerged. Jaime Rico Salazar (1988) says in his book
“One Hundred Years of Bolero” that blacks included two very important factors in the formation
of Cuban music, one, their impressive rhythmic sense and two, the activity they carried out as
instrument players, even in white music.
According to Rico (1988), the most important musician of that time was Manuel Samuell since
within his contradanza compositions he introduced the rhythmic patterns of various genres that
later began to emerge such as danzón, or the rhythmic bases of the Cuban clave, the habanera,
among others. Later on, the danzón emerged, led by Miguel Failde, who in 1879 premiered his
danzón “The Heights of Simpson.” Musicologists of the time said that there is no great musical
difference between the contradanza and the danzón, other than the way it is danced, the
contradanza in groups of loose couples and the danzón with the couple hugging. Danzón had a
great boom in Cuba and later in Mexico until 1920.
The origin of the bolero is attributed to the danzón due to the great relationship between its
rhythms; the danzón is written in a 2x4 rhythm, based as well as the contradanza on the cinquillo.
“ABACAD” is the musical formula that receives the name of complete danzón, later it was
reduced to ABAD and later to ABD. The difference that exists with the bolero is that it is a little
slower, the introduction is reduced to eight measures and two parts of sixteen measures each and
they have lyrics with a romantic meaning (Rico, 1988). In 1885 the first bolero was composed by
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Pepe Sánchez entitled Tristezas.
Sindo Garay, Manuel Corona, Alberto Villalon, Rosendo Ruiz, Emiliano Blez, were some of the
main Cuban troubadours, who were in charge of disseminating music throughout the country.
Many of them had no formal musical training, and yet they managed to transmit that great legacy
and rise of emerging music. Thanks to those who did have musical training, the compositions of
the masters could be transcribed, in this way, one hundred years later, we have access to these
works.
The bolero was performed only on guitar by troubadours until in the 1920s and 1930s when it was
performed on the piano. One of the first boleros performed on piano was Those Green Eyes ,
authored by Nilo Menendez (Rico, 1988). Ernesto
Lecuona was the most important musician that Cuba had, a piano player and composer, he had a
numerous musical production. Thanks to the arrival of the radio in Cuba, all this music began to
be disseminated, which until now was not easily accessible.
Cultural hybridization is due to many social processes that occurred at that time in the world, one
of the most important for the establishment of the bolero in Mexico was that slavery still existed
in other countries in America and “strengthening the slave trade between the Yucatán peninsula in
Mexico and the southern ports of Cuba” (Podesta, 2007, p. 100), was that the genre arrived in the
country. The music that predominated at that time was romantic music, Italian lyrical songs,
French songs and Spanish zarzuelas were heard, in this way new composers were influenced to
create Mexican boleros.
Beginning in the second decade of the 19th century, a taste for Italian lyrical song prevailed in
Mexico, as many Italian opera companies continually settled in the center of the country. Spanish
zarzuela companies also began to arrive in 1868. These two genres began to influence the upper
classes who attended these types of shows and very quickly they began to sing the most striking
melodies of the works that were presented, even if they were in Italian. For this reason, composers
also began to be infected by these genres and composed a wide range of lyrical songs in Spanish
(Rico, 1988).
The genre was formally accentuated in the country when authors recognized in the environment
for their knowledge in the composition of operettas and zarzuelas began to develop it.
Personalities such as Guty Cárdenas, María Grever, Agustín Lara and Alfonso Esparza Oteo
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created boleros whose performers in the “first period were light tenors and baritones, as well as
important mezzo-sopranos and contraltos” (Évora, 2001, p. 14).
As a result of this, Mexican boleros are characterized by their poetic lyrics and also since the
performers of the time had bel canto training, the compositions could have a very wide range and
great variability in voices. The dissemination of this genre at the hands of composers and
performers in the medium “made the bolero become the spokesperson for love discourse in Latin
America” (Londoño, 2017, p. 19), which is why the genre has been so important and has marked
entire generations, while “the Cuban case is something different, the bolero is rhythmic and to be
danced” (Podesta, 2007, p. 103), the bolero was the perfect excuse to approach that person who
felt distant, in a subtle and kind way.
Structurally speaking, we find in the bolero a “formula of 32 measures divided into two parts, the
first 16 in a minor key and the next 16 in a major key” (Évora, 2001, p. 25), the main
characteristic of the first existing boleros, that can vary with the convergence of its styles. The
main timbral characteristic comes from the guitar accompaniment, giving it a romantic and loving
character. It was initially based on 3x4 time signature, then it was adapted to 2x4 in a binary way,
says Évora (2001).
There was a great variety of bolero subgenres that marked the special characteristics of various
contexts, states Rico (1991, p. 215):
We have the example with the Trío Matamoros who very intelligently created the bolero-
son (hybrid that made its dance possible), later the bolero rumba with Ernesto Lecuona,
later the bolero-mambo with the indisputable figure of Benny Moré and so on. same the
bolero-chá with the latter.
The bolero reached a period of great boom and splendor called The Golden Age , referring to the
success of the dissemination of the genre and the performance styles that emerged and that are
today the most representative, a period that extended from 1940 to the end of the decade of the
60s. One of the influential factors to achieve the great boom of bolero was the commercialization
of records and the appearance of the radio, thus achieving greater quality in sound, “The period is
characterized because mass media are installed in all cities. ” (Podesta, 2007, p. 105), from here
emerges a new concept that is globalization.
At this time, a very important subgenre for Mexican music emerged, it was called Bolero
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ranchero, it was consolidated "based on a mix between the old melodic song with the instrumental
vigor of the Mexican mariachi using trumpets, violins and guitarrón" (Podesta, 2007, p. 107), this
gives an even more Mexican touch to the genre and performers such as Pedro Infante, Miguel
Aceves, Jorge Negrete, Antonio Aguilar, Pedro Armendáriz, José Mújica, Manuel Álvarez
Rentería, among others, are beginning to bring it to the big screen. .
After all this “it is important to point out that the bolero genre lived its golden age in a historical
context that did little to favor romantic music” (Podesta, 2007, p. 108), due to the global social
context that existed at that time. moment, one of the most relevant events was the Second World
War and also the Cold War, cutting off all romanticism that could exist.
The bolero was sexist and often misogynistic, says Évora (2001), since another factor of the
historical context in which it was produced was the female acquisition of the right to vote, but
women had not yet managed to fully enter the paid work scene. The author says that the
composers were probably not aware of this. Despite the manifestations of machismo in the genre
and in the country, great composers such as María Grever emerged with songs like Júrame, When
I return to your side, Alma mia and I love you you said, Consuelo Chelo Velázquez with boleros
like Bésame mucho, Que seas Happy and I Wait for You, the Puerto Rican Silvia Rexach with
songs like Say Heart, Waves and Sands and Life Will Say, among many others.
Finally, to understand the phenomenon that exists today in the dissemination of traditional music
from any place, it is necessary to talk about globalization. “The context of globalization and mass
music production have resulted in a blurring of the boundaries between the traditional and the
commercial” (Vega, 2010, p. 155), this means that it is difficult to understand the difference
between what It is called traditional music and what comes next is commercial popular music.
2.1.3 Interpretation
The concept of interpretation is premeditated with many components that go beyond the merely
technical. This is reflected in all artistic and cultural areas. In this way, Stephanie Burbano defines
and cites the concept of interpretation in her work Cerquita del Corazón, Interpretative Proposal
for the Ayacuchano wayno style (2019) as follows:
Interpretation can be understood as the union between instrumental technique and the role of the
musician as a researcher and human being; (Deschaussées 1991, cited by Burbano 2019), The
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Performer and Music , establishes that interpretation would then be the ability of the musician to
bring back life to the signs that the composer wanted to capture in his work as a response to his
investigative, musical capacity. and human.
With the above, talking about interpretation can lead us to think about the musical technique and,
in turn, about aspects that involve the context of the work and the composer. Thus, according to
Deschaussés the interpreter must take into account three factors for his intervention; He must
organize, capture and transmit the musical and spiritual idea with which the composer created the
work, taking into account that he must be receptive to the composer's demands and his personality
must be involved in its execution; That is to say, according to John Rink, in musical performance
a guide to understanding , “interpretation can be synonymous with trying to determine and realize
the composer's intentions” (Rink, 2006, p. 36).
So, we could categorize the interpretation into two large groups; The first refers especially to the
musical, the characteristics and qualities that the performer must have for the execution of the
work and, on the other hand, the spiritual as Deschaussés catalogs it.
Interpretation from the spiritual aspect is related to musical experiences and investigative and
curious work on the part of the performer; In this aspect, the performer must take care of relating
the composer's psyche with his own and, in turn, seek technical perfection that allows him to
carry out a good performance.
On the other hand, within the musical demands that a work can present for its interpretation there
are various technical factors. According to Rink (2006), the execution of said work could be
evaluated according to the phrasing and the beauty of the instrumentalist's sound; However, a
good performance does not ensure that the interpretation is correct, that is, the interpretation is not
directly related to the technical execution of the instrument even if the execution is part of it, “the
interpretation is, at best, an imperfect representation and approximate of the work itself” (Rink,
2006, p. 20)
Interpreting would then be the union of the factors explained above, where the technical joins
with the investigative work of the composer's context and the musical, allowing the cultural and
social elements to be understandable to the performer in order to understand the instrumental
organology, the letter and even the speed at which the genre you are working on is written.
Talking about a correct or good interpretation allows us to think about the points previously
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stated; understanding that the interpretation is not a single one and that its execution does not only
imply playing or singing from technical perfection, although said perfection provides tools for the
sound of the work and at the same time allows the performer to be coherent with the idea of the
work. composer.
In some cases, when music is a representation of elements that are part of culture and society, it is
important to take into account the thought of Paul Hindemit (1952, cited by Rink 2006, p. 31.)
“our way of being is not It is identical to that of our ancestors, and therefore their music, even if
we recreate it with absolute technical perfection, will never have for us exactly the same meaning
that it had for them.”
However, it is appropriate to say that, despite the knowledge about the context and the composer's
idea, the role of the performer will be to apply the musical and contextual elements mentioned
above to recreate a version, since no work will sound or be performed completely. fidelity to the
composer's idea; For this reason Deschaussés speaks of bringing signs to life.
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2.2 State of the art: Who were María Grever and Manuel M. Ponce?
2.2.1 Maria Grever
María Joaquina de la Portilla Torres, was born on August 16, 1885 in León Guanajuato and died
on December 15, 1951 in New York, USA. His parents were the Sevillian Francisco de la Portilla
and the Mexican Julia Torres. From a very young age she received musical education, at the age
of four she made her first composition. He moved to Seville at the age of six and later traveled to
Paris, where he took classes with Claude Debussy and Franz Lenhard. She returned to Mexico
years later and there she entered her aunt “Cuca” Torres' singing school.
She married León A. Grever whom he met in 1907. He worked for Paramount and 20th Century
Fox, composing for several films. His first worldwide success came when the tenor José Mojica
performed his composition Júrame . The bolero would be popularized through the newly
appeared radio.
His musical career flourished in New York, where one of his main interests was to show Mexican
music to Americans. He made around 800 compositions, among which are Alma mia, I love you
you said, When you no longer love me, Swear to me, In case I never see you again, among others.
She was the first woman to win a foreign award. She was also the first Mexican to join the
American Society of Authors, Composers and Music Publishers in 1935.
After his death, in 1953, the Chilean Tito Davison released a biographical film called When I Go,
and his role was played by Libertad Lamarque. Grever lived and died in New York, at his request,
his remains were taken to Mexico City, where some years ago he was awarded the Medal of Civil
Merit.
The data for this biography were taken from the documents: Mexican composer “María Grever”
and María Grever: A Mexican minstrel in New York.
2.2.2 Manuel M. Ponce

Manuel María Ponce Cuéllar, was born on December 8, 1882 in Fresnillo, Zacatecas and died on
April 24, 1948. From a very young age he showed great musical facility. At the age of nine he
composed his first work for piano. He was part of the children's choir of the San Diego temple in
Aguascalientes, where his brother Fray Antonio served as a priest. Later he was the temple
organist.
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In 1900 he moved to Mexico City to study at the Conservatory, and in 1904 he traveled to
Europe. He studied in Bologna with Luigi Tochi and in Berlin with Martin Krauze. In 1912 he
played the premiere of his Concerto for piano and orchestra with the Mexican Symphony
Orchestra, conducted by Julián Carrillo. In 1914 his Album of Mexican Songs appeared, based on
popular pieces that he collected. The most famous would be Estrellita , composed in 1912 and
whose popularity persists to this day.
Due to the political situation prevailing in Mexico, he traveled to Havana in 1915 in the company
of the poet Luis G. Urbina. He remained in Havana until 1917, as music critic for El Heraldo de
Cuba and La Reforma Social . He became interested in Cuban popular music and composed the
Cuban Suite . His Sonata for cello and piano dates from that period, which shows a certain
influence of Cuban music.
In 1917 he accepted the appointment of director of the National Symphony Orchestra, which he
would direct for two years. In 1921 he composed an ambitious orchestral triptych titled
Chapultepec .
In 1925, at the age of 43, he enrolled in the Normal School of Music in Paris. He was a student of
Paul Dukas and confirmed his great friendship with the Spanish guitarist Andrés Segovia. His
musical language changed. He abandoned the nationalist style, as shown by his Three Preludes
for Cello and Piano composed in Paris and his subsequent works. He obtained a degree in
composition in 1932, at the age of 50, and, armed with new ideas and a new language, he returned
to Mexico that year and was named director of the National Conservatory.
The data for this biography were taken from the document: Mexican music: the 20th century,
music in Mexico (radio).
3. Methodology: Musical-interpretive analysis

3.1 Repertoire selection
To make the selection of the repertoire, the genres Mexican song and bolero were chosen, taking
into account two of the most representative Mexican composers of the late 19th century and early
20th century, they are María Grever and Manuel María Ponce. Some of the Mexican music
performers who sang these repertoires the most throughout their careers were also chosen.
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This information is summarized in the following table.
YEAR OF
COMPOSER INTERPRETERS SONGS RECORDING
gypsy lament 1933

Alfonso Ortiz Tirado
You said: I love you 1932
My Soul 1972
Ana Maria Gonzalez
You do not love me anymore 1972
My Soul 1955
Maria Grever
Liberty Lamarque You said: I love you 1953
Bolero
My Soul 1948
gypsy lament 1948

Nicolas Urcelay
Alfonso Ortiz Tirado little Star 1933
On the edge of a palm grove 1999
little Star 1999

Manuel M. Ponce Encarnacion Vazquez
Away from you 1999
Mexican academic Withers the soul 1999
song
Alfredo Kraus Away from you 1959
Withers the soul 1959
Table 1 Selected repertoire

3.2 Analysis of the selected repertoire
At this stage, categories were established that cover the aspects considered most important for the
interpretative analysis of the selected repertoire. The oldest recordings and scores found in the
archives of the Conservatorio de las Rosas in Michoacán, Mexico and from the personal archive
of teacher Perla Orrantia, professor of singing at the Autonomous University of Sinaloa, Mexico,
were compiled. Based on careful listening, each recording was described according to the
established categories and the scores found. These categories are:
Technical sheet of the song
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• Interpreter
• Recording year
• Gender
1. Musical structure:
I. Tonality
II. Shape
III. Harmony
IV. Dynamic
V. Rhythm
VI. Accompaniment format
2. Interpretation:
i. Vibrato
ii. Sonority
iii. Diction
iv. Text
i. Phrasing
ii. Ornaments
iii. Melody
4. Development
4.1 First level of analysis: Description
4.1.1 Boleros by María Grever
4.1.1.1 Song: Soul of mine
Performer: Ana María González
Recording year: 1972
Genre: Bolero 4/4
1. musical structure
I. Key: G major
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II. Shape:
• Part A 16 bars (Alma mia sola...)

• Part B 16 Bars (If I found a soul...)
• Part B' 16 Bars (A soul that will intoxicate...)
III. Harmony: It is based on the harmony of the version written for voice and piano of the
song Alma mia in the 1960 Mexican edition made by the Promotora Hispanoamericana
de Música SA. It modifies the tonality that is proposed in the score.
IV. Dynamics: In part A he uses a dynamic where each phrase tends to a diminuendo. In part
B the dynamics vary. Between phrases it tends to grow to climax and remains strong.
In part B' the dynamics also vary, between phrases it tends to grow until it reaches the
climax and to end it makes a diminuendo.
V. Rhythm: The song is performed in 4/4 in bolero rhythm, unlike its original version
written in 3/4. Part A is completely ad libitum. Parts B and B' were completely
modified to fit the 4/4 time signature, therefore there are rhythmic variations.
VI. Accompaniment format: Part A is accompanied by an acoustic guitar. Parts B and B', in
addition to guitar, are accompanied by double bass, violins, bandoneon, bongoes and
at the end of part B' some wind instruments sound.
2. Interpretation:
i. Vibrato: It is constant and fast, meaning that the wavelength is short.
ii. Loudness: It has some characteristics of a lyrical voice but there is also some
constriction that produces a change in color. In its lower mid-register it uses a
large resonance space and in the treble it lowers the larynx more to emphasize
and maintain its dark color.
iii. Diction: It is strong, it allows you to understand the text very well. Emphasize
consonants like n, l, m.
iv. Text: Change the verbs find and embriagar so that it goes from the conjugation
of the subjunctive of the imperfect preterite 2 to the subjunctive of the preterite
imperfect 1, that is, change finds to find and embriagase to embriagara .
i. Phrasing: It does not standardize the rhythm, on some occasions it lengthens
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some words, generating rhythmic tensions.
ii. Ornaments: Use ascending glissandos in most phrases. Use portamentos in
descending intervals. It also uses ornaments such as the mordant in descending
intervals.
iii. Melody: It is faithful to the melody proposed in the score, except for the last
phrase where it is modified to go to the end and change the cadence.
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Performer: Libertad Lamarque
Genre: Waltz 3/4
I. Key: A flat major
II. Shape:
• Introduction 4 measures
• Part A 16 Bars (Alma mia sola…)
• Part B' 16 Measures (A soul that intoxicates…)
• Instrumental bridge 6 measures
• Coda 10 bars
song Alma mia in the Mexican edition of 1960 made by the Promotora
Hispanoamericana de Música SA
IV. Dynamics: Part A remains in mezzoforte . At the end of part B' it decreases a little and
finally in the coda he performs messa di voce in the phrase if I found a soul like mine .
V. Rhythm: In part A it is faithful to the rhythm of the score, the indication of ritardando
follows in the last phrase “of joy and pleasure”. In part B it follows the indication to
return to tempo but modifies the duration of the notes at the ends of the phrase, almost
adding half of their value. In part B' there is more freedom and plays with the tempo,
delaying the pulse by lengthening some notes until reaching a ritardando in the last
two phrases. Finally the coda is done ad libitum .
VI. Accompaniment format: Orchestra with bowed strings, winds and woodwinds.
2. Interpretation:
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i. Vibrato: It is not constant, it is used very little in quick texts. It appears in the
long notes and is a very subtle and slow vibrato, that is, the wavelength is long.
ii. Loudness: Its timbre has characteristics typical of a lyrical voice. In its mid-low
register it uses an airy sound. It has a clear sound that sounds in the mask, in
front and that produces a brilliant sound.
iii. Diction: It is strong and that allows the text to be completely understood,
in general the consonants are marked. In some high notes the vowels are
mixed.
iv. Text: it is faithful to the text proposed in the score.
i. Phrasing: Make caesuras within the sentences like this: my soul, alone, always
alone . Emphasize each sentence, achieving uniform and understandable
phrasing.
ii. Ornaments: Use portamentos most of the time, both ascending and descending
and with vibrato. It also uses ornaments such as the mordente and the simple
gruppetto in descending intervals.
iii. Melody: It is faithful to what is proposed in the score, except for the last phrase
where it modifies the cadence.
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Performer: Nicolás Urcelay
Genre: Waltz 3/4
I. Key: D flat major
II. Shape:
• Part A 16 Bars (Alma mia sola…)
• Part B' 16 Measures (A soul that intoxicates…)
• Coda 8 bars
VII. Harmony: It is based on the harmony of the version written for voice and piano of the
song Alma mia in the 1960 Mexican edition made by the Promotora Hispanoamericana
de Música SA. It modifies the tonality that is proposed in the score.
III. Dynamic: It is variable, the sentences always tend to grow. Employ media messa di
voce . Each part of the song begins with soft dynamics. The end of part A ends with a
diminuendo , the end of part B grows and ends strong, the end of part B' ends by
growing and decreases. The coda ends strong.
IV. Rhythm: It is very variable, it is not faithful to the rhythm indicated in the score, it
anticipates the pulse of the words that would fall in a supposed first beat. That is to
say, it makes asynchopated rhythms with the text.
V. Accompaniment format: Bowed string orchestra, harp and electric organ.
2. Interpretation:
i. Vibrato: At times it is constant, especially in the long notes. It is a slow vibrato,
that is, the wavelength is long.
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ii. Loudness: The timbre is basically understood as a lyrical voice, at times it uses
airy sonority. Does not use vibrato to emphasize the text. It combines larynx
height to give emphasis to the text, that is, its larynx is high for the emission of
quick texts. This resource comes from opera, specifically as it is done in
recitatives. For long sounds, its larynx is lowered as an expressive resource that
gives a darker color.
iii. Diction: It is clear and that allows the text to be completely understood, in
general the consonants are strong.
iv. Text: It is faithful to the text proposed in the score.
i. Phrasing: Sing complete long phrases using a single breath, lengthen each end
of the phrase by concatenating one idea with another, achieving uniform
phrasing.
ii. Ornaments: Employ ascending glissandos and portamentos
descendants. In some phrase endings it descends with glissando to the seventh
degree to generate more tension and resolves it in the first degree.
iii. Melody: The melodic intervals are faithful to the melody proposed in the score,
except for the last phrase where it is modified to go to the end and change the
cadence.
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4.1.1.2 Song: Gypsy Lament
Performer: Alfonso Ortiz Tirado
Genre: Song 6/8
I. Key: E minor
II. Shape:
• Part A 16 Measures (I don't know why I was born...)
• Part B 8 Measures G major (Even in my dream as a child…)
• Part A' 8 bars (That your love was mine...)
• Part C 8 bars (Strange woman gypsy…)
• Part A' 8 bars (Destroying my life…)
• Coda 4 measures (Gitana)
song Lamento gitano published by Southern Music Publishing Co. Inc. in 1930 and
published in Mexico by Promotora Hispano Americana de Música SA in 1964.
IV. Dynamics: Part A begins in mezzoforte, grows in the middle and ends forte. In part B,
piano begins and increases and decreases with the phrases. The A' part remains in
mezzoforte, in the finale it decreases. Part C remains forte until the end where it goes
to a mezzoforte. In part A' it remains mezzoforte and at the end it decreases. The coda
begins piano and grows until it reaches forte.
V. Rhythm: It is not faithful to the rhythm proposed in the score, it modifies the durations
of the notes in the fast texts. He makes rubato and tenuto at phrase endings that are not
marked in the score.
VI. Accompaniment format: Piano, wind instruments and bowed strings.
2. Interpretation:
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i. Vibrato: It is constant, especially in long notes.
ii. Loudness: Fully lyrical loudness, keeps the sound at the forefront, producing a
brilliant color. When making low notes it loses a little brightness because the
larynx lowers more.
i. Phrasing: Sing long phrases, lengthening each end of the phrase by
concatenating one text with the next, achieving uniform phrasing.
ii. Ornaments: Use ascending and descending portamentos with subtle vibrato.
Sometimes he uses ornaments such as the mordente, characteristic of Spanish
music.
iii. Melody: Preserves the complete melody proposed in the score.
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Genre: Bolero 4/4
I. Key: C sharp minor
II. Shape:
• Part A 16 Measures (I don't know why I was born...)
• Part B 8 Measures G major (Even in my dream as a child…)
• Coda 5 measures (Gypsy)
song Lamento gitano published by Southern Music Publishing Co. Inc. in 1930 and
published in Mexico by Promotora Hispano Americana de Música SA in 1964.
IV. Dynamics: Part A begins in mezzoforte, grows in the middle and ends mezzoforte. In
part B, piano begins and increases and decreases with the phrases. Part A' starts piano,
at the end it decreases. Part C remains strong and at the end it decreases. In part A' it
starts piano and at the end it decreases. In the coda he makes messa di voce.
V. Rhythm: This version is performed in 4/4 in bolero rhythm, unlike its original version
written in 6/8. The song was rhythmically modified to fit the 4/4 time signature,
therefore it is not faithful to the score.
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VI. Accompaniment format: Bowed string orchestra, very marked double bass and harp.
2. Interpretation:
i. Vibrato: At times it is constant, especially in the long notes. It is a fast vibrato,
that is, the wave length is short.
airy sonority, to emphasize the text it does not use vibrato. It combines larynx
quick texts. This resource comes from opera, specifically from recitatives. For
long sounds, its larynx is lowered as an expressive resource that gives a darker
color.
iv. Text It is faithful to the text proposed in the score.
of the phrase by concatenating the text, achieving uniform phrasing.
ii. Ornaments: Use ascending glissandos and descending portamentos.
iii. Melody: It is faithful to the melody proposed in the score except for the coda
where it modifies the last interval and adds an ornament.
4.1.1.3 Song: I love you, you said
Genre: Bolero 4/4
I. Key: A major
II. Shape:
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• Part A 16 Bars (I love you, you said...)
• Repeat part A
• Part B 16 Bars (Cute little doll…)
• Part C 8 bars (And sometimesI'm listening…)
• Part B' 8 measures (Yes! I love you very much…)
• Repeat parts C and B'
song I love you, you said published by Southern Music Publishing Co. Inc. in 1931.
IV. Dynamics: It starts in mezzoforte and varies as the phrases go, growing and decreasing.
In part B it goes to a piano and slows down a little at the end of the section. Part C
begins to grow and becomes stronger until it reaches part B' where it returns to piano,
repeating the same after the instrumental bridge.
V. Rhythm It is faithful to the rhythm indicated in the score and also follows the proposed
indications such as a change of tempo in part B. Also follow the directions that appear
as the tenuto.
VI. Accompaniment format: Bowed string orchestra, double bass, winds, piano.
2. Interpretation:
i. Vibrato It is constant, especially in long notes.
ii. Sonority: Completely lyrical sonority, its sound is always present, it keeps it in
the mask, producing a brilliant sound. When making low notes it gains a dark
color because the larynx lowers more.
i. Phrasing: Take a few breaths to sing, lengthen each end of the phrase by
concatenating the text, thus achieving uniform phrasing.
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ii. Ornaments: Use ascending and descending portamentos with subtle vibrato.
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Genre: Bolero 4/4
I. Key: D major
II. Shape:
• Part A 16 Bars (I love you, you said...)
• Part B 16 Bars (Cute little doll…)
• Part C 8 Bars (Sometimes I hear…)
• Part B' 8 Bars (Yes! I love you very much…)
• Instrumental bridge 8 measures (melody part C)
• Repeat part B' 8 bars (Yes! I love you very much…)
IV. Dynamics: Part A begins in mezzoforte, then grows from the middle to the end. Part B
is kept in mezzoforte. Part C starts mezzoforte and quickly goes to forte. Part B'
remains in mezzoforte. The repetition of part B' begins mezzoforte and ends in forte.
V. Rhythm: Part A is performed completely ad libitum. In part B it enters the tempo and
stays that way. It is not faithful to the rhythm indicated in the score. It lags behind the
pulse. Modifies the rhythm cell of part B composed of four eighth notes. In the
repetition of part B' he makes a ritardando to conclude the song.
VI. Accompaniment format: String, wind and woodwind orchestra.
2. Interpretation:
i. Vibrato: It is constant at the ends of phrases and long notes. It is a fast vibrato,
ii. Loudness: Uses mixed voice. In part A he keeps his larynx down to give that
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characteristic of sadness to his interpretation of the text. Addressing the treble
tends to be the brightest sound.
iii. Diction: It is clear and strong, which allows the text to be completely
understood, in general the consonants are strong.
of the phrase by concatenating the text, achieving uniform phrasing.
ii. Ornaments: Combine ascending and descending portamentos and glissandos.
Sometimes it uses ornaments such as the mordente, as in Spanish music.
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Genre: Bolero 4/4
I. Key: C sharp major
II. Shape:
• Intro measures
• Part B 16 measures (Cute doll…)
• Part C 8 bars (Sometimes I hear…)
• Part A 16 bars (I love you, you said...)
III. Harmony It is based on the harmony of the version written for voice and piano of the
IV. Dynamics: Starts in mezzoforte part B. In part C it starts mezzoforte, tends to grow in
the middle of the phrase and then decreases at the end. In part B' it begins piano and
grows to mezzoforte. In part A it remains in mezzoforte. In the repetition of part B' the
piano begins and remains that way until the end.
V. Rhythm: Modifies the rhythm cell of part B composed of four eighth notes, interpreting
them as a swing eighth note. Sometimes it delays the pulse. It is faithful to the tenutto
instructions. Part A and the repetition of B' are performed ad libitum.
VI. Accompaniment format: Bowed string orchestra, harp and electric organ.
2. Interpretation:
i. Vibrato: At times it is constant, especially in the long notes. It is a slow
vibrato, that is, the wavelength is long.
airy sonority, to emphasize the text it does not use vibrato. It combines larynx
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quick texts. This resource comes from opera, specifically from recitatives. For
long sounds, its larynx is lowered as an expressive resource that gives a darker
color.
i. Phrasing: Sings complete long phrases using a single breath, makes a
singing line by concatenating the text, achieving uniform phrasing.
ii. Ornaments: Use ascending glissandos and descending portamentos.
iii. Melody: Some melodic intervals are faithful to the melody proposed in the
score. Modify some intervals at the end of phrases and also modify the last
phrase to go to the end and change the cadence.
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4.1.1.4 Song: You don't love me anymore
Performer: Ana María González
Genre: Bolero 4/4
I. Key: C minor
II. Shape:
• Part A 16 Bars (I am yours and always will be)

• Part B 16 Bars (You don't remember me anymore)
• Part B' 16 Measures (Me for being with you)
• Repeat the last 8 bars of part B' (I want to melt in the flame of love)
song You don't want me anymore published by Portilla Music Corp. in 1946. Modifies
the tonality proposed by the score. Part A Cm, Parts B and B' E.
IV. Dynamics: It starts in mezzoforte and varies as the phrases go, growing and decreasing.
In the following parts the dynamics are variable, the piano begins to grow very little
towards measures 8-12 of each part and maintains the dynamics.
V. Rhythm: Part A is performed completely ad libitum. In part B it enters the tempo and
remains so, it is not faithful to the rhythm indicated in the score, it is delayed and also
advanced with respect to the pulse and completely modifies the durations of the notes,
except in some parts where it must fall exactly on the pulse so as not to lose track of
the beat and the rhythm of the bolero. In the repetition of part B' he makes a ritardando
to conclude the song.
VI. Accompaniment format: Accordion, guitar, marimba, double bass, piano, bongoes,
muted trumpet, clarinet.
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2. Interpretation:
i. Vibrato: Only use vibrato on some long notes. It is a slow vibrato, that is, the
wavelength is long.
ii. Loudness: Hybrid loudness, a constriction typical of the combination of larynx
height is noted. Despite the above, many elements of lyrical singing are found.
general the consonants are very marked.
iv. Text: Change the lyrics of the text in part B' saying: “but you don't remember
me, you don't love me anymore” instead of “but you don't want to come back,
you don't love me anymore” as the score suggests.
i. Phrasing: Sings complete long phrases using a single breath, lengthening each
end of the phrase by concatenating the text, achieving uniform and
understandable phrasing.
ii. Ornaments: Use short ascending glissandos. Sometimes he uses
ornaments such as the mordente, characteristic of Spanish music.
iii. Melody: Modifies some intervals at the end of phrases. In general it maintains
the melody proposed in the score.
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Genre: Bolero 4/4
I. Key: D minor
II. Shape:
• Part A 16 Bars (I am yours and always will be)
• Part B 16 Bars (You don't remember me anymore)
• Part B' 16 Measures (Me for being with you)
• Repeat part B' 16 bars
the tonality proposed by the score. Modify the tonality proposed in the score. part A
Dm, Parts B and B' F.
IV. Dynamics: It is stable in part A, it remains in mezzoforte, in the last bars it decreases. In
the following parts the dynamics are variable, it begins on piano to grow until the
climax (measures 8-12 of each part) and then begins to decrease until the final phrase
of each part is finished on piano.
V. Rhythm: Part A is performed completely ad libitum. In part B it enters at tempo and
remains so, it is not faithful to the rhythm indicated in the score, it is delayed with
respect to the pulse and modifies the durations of most of the notes, except in some
parts where it must fall exactly on the pulse so as not to lose track of the beat and
rhythm of the bolero. In the repetition of part B' he makes a ritardando to conclude the
song.
VI. Accompaniment format: String, wind and woodwind orchestra.
2. Interpretation:
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i. Vibrato: It is constant at the ends of phrases and long notes. It is a fast vibrato,
ii. Loudness: Uses mixed voice, chest loudness with lightness of head voice. In
part A he keeps his larynx down to give that characteristic of sadness to his
interpretation of the text. When addressing the treble the sound tends to be
brighter, it is located in the mask.
iii. Diction: It is clear and strong, which allows the text to be completely
understood, in general the consonants are very marked.
iv. Text: Change the lyrics of the text in part B' saying: but you don't remember
me, you don't love me anymore instead of more you don't want to come back,
you don't love me anymore as the score suggests.
ii. Ornaments: Combine ascending and descending portamentos and glissandos.
Sometimes he uses ornaments such as the mordente, characteristic of Spanish
music.
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Genre: Bolero 4/4
I. Key: G minor
II. Shape:
• Part A 16 Measures (I am yours and always will be…)
• Part B 16 Bars (You don't remember me anymore...)
• Part B' 16 Measures (Me for being with you...)
• Repeat part B' 16 bars
• Coda 2 bars
the tonality proposed by the score. Part A Gm, parts B and B' Bb.
IV. Dynamics: It remains in a mezzoforte in part A, in the last bars it decreases. In the
following parts the dynamics are variable, starting with piano to grow until the climax
(measures 8-12 of each part) and then returning to piano until the end of each phrase.
V. Rhythm: Part A is performed completely ad libitum. In part B it enters at tempo and
stays that way, it is not faithful to the rhythm indicated in the score, it is delayed with
respect to the pulse and lengthens the duration of some notes.
VI. Accompaniment format: Bowed string orchestra, very marked double bass and harp.
2. Interpretation:
i. Vibrato: At times it is constant, especially in the long notes. It is a fast vibrato,
ii. Sound: Basically lyrical. In part A its sound is a little more dramatic compared
to the rest of the song. To give characteristics of sweetness, use an airy voice.
Maintains the (low) height of the larynx providing an even color to the
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performance.
iv. Text: Change the letter of the text in part A saying: say why with your
cruel darling, you prefer to be silent than to forget our love instead of saying
why with your cruel silence you now intend to destroy our illusion . In part B'
the tense of the verb I want changes from present to past and in addition to this,
the last phrase plus you don't want to come back, you no longer love me
changes it to more you don't remember me, you don't love me anymore .
ii. Ornaments: Sometimes ascending and descending portamentos are used. He
also uses ascending and descending glissandos when trying to soften the
intention of the performance.
iii. Melody: Modifies some intervals of the original melody.
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4.1.2 Mexican academic songs by Manuel María Ponce
4.1.2.1 Song: On the edge of a palm grove
Performer: Alfredo Kraus
Genre: Mexican Song 4/4
I. Key: A major
II. Shape:
• Part A 8 Measures (On the edge of a palm grove…)
• Repeat part A
• Part B 8 bars (I'm an orphan...)
• Coda 4 bars (I spend my life alone…)
song On the edge of a palm tree found in the compilation of Mexican songs by Manuel
M. Ponce at the Las Rosas Conservatory, Michoacán, Mexico.
IV. Dynamics: Follow all the instructions in the score. Part A starts flat, grows and
decreases according to the proposed regulators. In part B mezzoforte starts, grows and
decreases according to the proposed regulators.
V. Rhythm: It is faithful to the rhythm proposed in the score.
VI. Accompaniment format: Symphony orchestra.
2. Interpretation:
i. Vibrato: It is constant, typical of the bel canto technique.
airy sonority.
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iv. Text: Add the word good to the phrase , not even a friend, Oh, come and
comfort me . The rest is faithful to the text proposed in the score.
i. Phrasing: It does not make rhythmic or melodic modifications, it is faithful to
what is proposed in the score.
ii. Ornaments: Use very marked portamentos and short glissandos.
iii. Melody: The melodic intervals are faithful to the melody proposed in the score.
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Performer: Encarnación Vázquez
I. Key: F major
II. Shape:
• Part A 8 Measures (On the edge of a palm grove…)
• Repeat part A
• Part B 8 bars (I'm an orphan...)
song On the edge of a palm tree found in the compilation of Mexican songs by Manuel
M. Ponce at the Las Rosas Conservatory, Michoacán, Mexico.
decreases according to the proposed regulators. In part B mezzoforte starts, grows and
decreases according to the proposed regulators
V. Rhythm: It is faithful to the rhythm proposed in the score. Add two rallentandos in each
part of the song.
VI. Accompaniment format: Piano.
2. Interpretation:
ii. Loudness: The timbre is typical of a lyrical voice. Its color is darker in this
interpretation, giving it a melancholic character. .
iii. Diction: It is not so clear, due to the height of the notes the pattern of the vowels
is modified.
i. Phrasing: It is faithful to what is proposed in the score. The phrases are
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constructed in such a way that the singers can breathe naturally and so does the
performer.
ii. Ornaments: Use very marked portamentos and glissandos.
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4.1.2.2 Song: Little Star
I. Key: E major
II. Shape:
• Part A 8 Measures (Little star from the distant sky…)
• Repeat part A
• Part B 8 measures (You are a star…)
song Estrellita by Manuel María Ponce that is found in the personal archive of teacher
Perla Orrantia.
IV. Dynamics: In general it is homogeneous, you can notice some crescendos towards the
end of the phrase and at the climax of the song.
V. Rhythm: This performance is very slow with respect to the score indicated by Andante.
Sing ad libitum.
VI. Accompaniment format: String orchestra.
2. Interpretation:
ii. Loudness: Timbre is basically understood as a lyrical voice. At times it produces
an airy sound.
general the consonants are very strong.
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iv. Text: Change the phrases that you look at my pain, that you know my suffering
because you know my pain, that you look at my pain and because I can't
because I can't.
iv. Phrasing: The phrasing is modified by the ad libitum interpretation, there is no
rhythmic constancy in the different phrases.
v. Ornaments: Use slow portamentos, where their notes are distinguished
intermediate.
vi. Melody: The melodic intervals are faithful to the melody proposed in the score.
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I. Key: F major
II. Shape:
• Part A 8 Measures (Little star from the distant sky…)
• Repeat part A
• Part B 8 measures (You are star…)
song Estrellita by Manuel María Ponce that is found in the personal archive of teacher
Perla Orrantia.
IV. Dynamics: In general it is very smooth. Follow all the instructions in the score. Part A
starts flat, grows and decreases according to the proposed regulators. In part B the
mezzoforte starts, it grows and decreases according to the proposed regulators.
V. Rhythm: It is faithful to the rhythm proposed in the score. Perform the rubatos that
appear indicated in the score and add a rubato at the end of the second measure of part
B.
VI. Accompaniment format: Piano
2 Interpretation:
ii. Loudness: Timbre is basically understood as a lyrical voice. Its color is very
bright in this interpretation due to the high notes of the composition.
iii. Diction: It is not so clear, due to the height of the notes the pattern is modified.
iv. Text: Change the phrase because I cannot live without her to because I cannot
live without her love.
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i. Phrasing: Each phrase has its space and well-defined breathing according to the
indications of the score.
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4.1.2.3 Song: Far from you
I. Key: G major
II. Shape:
• Part A 18 Bars (Far from you…)
• Repeat part A
• Part B 18 measures (The morning is sad…)
song Lejos de ti found in the compilation of Mexican songs by Manuel M. Ponce at
the Las Rosas Conservatory, Michoacán, Mexico.
IV. Dynamics: Follow all the instructions in the score. Part A begins on piano, grows on the
word martyrdom and returns to piano, in measure eleven it goes a forte with the word
delirium and then decreases towards the end. Part B begins mezzoforte and varies with
the phrases, increasing and decreasing.
V. Rhythm: It is faithful to the rhythm proposed in the score and also to the rallentando and
rubato indications.
2. Interpretation:
airy sonority. It combines larynx height to give emphasis to the text, that is, its
larynx is high for the emission of quick texts. This resource comes from opera,
specifically from recitatives.
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i. Phrasing: Each phrase is interpreted with its well-defined rhythm and breathing
according to the indications of the score.
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I. Key: E flat major
II. Shape:
• Part A 18 Bars (Far from you…)
• Repeat part A
• Part B 18 measures (The morning is sad…)
song Lejos de ti found in the compilation of Mexican songs by Manuel M. Ponce at
the Las Rosas Conservatory, Michoacán, Mexico. Preserve the tonality proposed in the
score.
IV. Dynamics: Part A begins mezzoforte, in measure eleven it grows as indicated by the
score towards a forte, towards the end it decreases and ends on piano. Part B begins
mezzoforte, the first phrase concludes piano. The next phrase grows towards a forte
and finally ends on piano.
V. Rhythm: It is faithful to the rhythm proposed in the score. Add a rallentando at the end
of part B, in addition to the rubatos and rallentando that appear indicated in the score.
2 Interpretation:
ii. Loudness: Its timbre has characteristics typical of a lyrical voice.
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4.1.2.4 Song: Wither the soul
I. Key: G major
II. Shape:
• Part A 9 Measures (Marchita the soul…)
• Repeat part A
• Part B 9 measures (I wantedtalk to him…)
song Marchita el alma found in the compilation of Mexican songs by Manuel M.
Ponce at the Las Rosas Conservatory, Michoacán, Mexico.
decreases according to the proposed regulators. In part B he uses messa di voce every
two measures and ends in pp.
V. Rhythm: It is faithful to the rhythm proposed in the score. Add a rallentando in the
middle of part A in addition to the rubatos and rallentando that appear indicated in the
score.
2. Interpretation:
ii. Loudness: The timbre is basically understood as a lyrical voice, at times it
uses airy sonority. It combines larynx height to give emphasis to the text, that
is, its larynx is high for the emission of quick texts. This resource comes from
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opera, specifically recitatives.
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I. Key: E flat major
II. Shape:
• Part A 9 Measures (Marchita el soul…)

• Repeat part A
• Part B 9 measures (II wantedtalk to him…)
• Repeat part B
song Marchita el alma found in the compilation of Mexican songs by Manuel M.
Ponce at the Las Rosas Conservatory, Michoacán, Mexico.
IV. Dynamics Follow all the instructions in the score. Part A starts flat, grows and decreases
according to the proposed regulators. In part B it uses mesa di voce every two
measures and ends in pp.
V. Rhythm: It is faithful to the rhythm proposed in the score. Add several rallentandos that
are not marked in the score, in addition to those that are indicated.
2 Interpretation:
ii. Loudness: Its timbre has characteristics typical of a lyrical voice.
iii. Diction: It is weak, due to the height of the notes the pattern of the vowels is
modified.
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4.2 Second level of analysis: Comparison
Based on the descriptions made in the first level of analysis and seeking to synthesize the structural
and interpretative aspects in each song, a second comparative analysis was carried out that allowed
establishing both stable and mutable elements according to the already established analysis
categories. In the first table is the musical structure of the boleros, in the second are the technical and
stylistic aspects. Followed by the tables, the description of the aspects found in the bolero is listed,
thus establishing its interpretative discourse.
In the third table is the musical structure of the selected Mexican songs and in the fourth table their
technical and stylistic aspects are reflected. Below is a list that shows the findings made and that
allow establishing the interpretative discourse of this genre.
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4.2.1 boleros musical structure
Song MY SOUL GYPSY LAMENT YOU SAID: I LOVE YOU YOU DO NOT LOVE ME
ANYMORE
Tonality Base key: C Minor . The two Base key: G Major. The Base key: E Minor . The
Base Key: C Major. The performers modify the three performers modify the three performers modify the
three performers modify the tonality proposed in the score. tonality proposed in the score. tonality proposed in the score.
tonality proposed in the
score.
Shape Base form: Base form: Base form:
• Introduction 4 measures Base form: • Introduction 8 measures • Introduction 4 measures
• Part A 16 bars • Introduction 4 measures • Part A 16 Bars • Part A 16 Bars
• Part B 16 measures • Part A 16 Bars • Part B 16 Measures • Part B 16 Measures
• Part B' 16 bars The parts • Instrumental bridge 4 • Part C 8 Bars • Part B' 16 Measures The
proposed in the score are measures • Part B' 8 Measures All parts proposed in the score are
present, but each one adds • Part B 8 Bars parts are presented. Each one present, but each one modifies
instrumental bridges or coda • Part A' 8 bars modifies the introduction, or removes the introduction,
to the song. • Part C 8 measures adds instrumental bridges or adds instrumental bridges or
• Part A' 8 bars repaints parts. coda to the song.
• Coda 4 measures
maintains the basic form,
while Nicolás Urcelay varies
the form, doing repetitions of
parts A', B and C.
Harmony Two of the three versions The two interpretations are The three versions are based The three versions are based
make small based on the harmony on the harmony proposed in on the harmony proposed in
reharmonizations with proposed in the score. the score. the score.
respect to the harmony
proposed in the score.
Dynamic In all three cases the In both cases the dynamics Variable dynamics. There are There are two dynamics found
dynamics are variable. are variable. There are two three dynamics found in these in these performances: From
There are three dynamics dynamics found in these performances: From piano to piano to mezzoforte < and
found: From piano to performances: From piano to mezzoforte <, from messa di voce < >.
mezzoforte <, from mezzoforte < and messa di mezzoforte to piano > and
mezzoforte to piano > and voce < >. messa di voce < >.
messa di voce < >.
Rhythm Base rhythm: Waltz 3/4. In Base metric: 6/8. Neither Base rhythm: Bolero 4/4. Base metric: 2/2. In all three
all three cases the rhythm version is faithful to the score. Only in the case of Alfonso cases the same characteristics
varies according to the In the case of Nicolás Ortiz Tirado are the rhythmic are presented, part A
phrasing of each performer. Urcelay, he modifies the indications proposed in the performed ad libitum, in part
There is a particularity in meter of the song, interpreting score followed. In the other B it enters the tempo but does
Ana María González's it in 4/4. two cases, the rhythmic not follow the rhythm
interpretation, because she figures are modified or proposed in the score.
modifies the meter of the delayed with respect to the
song and it is performed in pulse.
Bolero rhythm (4/4). There
are also ad libitum sections.
Accompaniment Base format: Piano. It varies Base format: Piano. The Base format: Piano. The Base format: Piano. The
format depending on the performer, bowed string orchestra bowed string orchestra bowed string orchestra
ranging from an orchestra of prevails, but they particularly predominates, but other prevails, but they add other
bowed strings, with some add other wind instruments instruments such as the organ, wind instruments, double bass,
wind instruments, to that vary according to the some wind instruments and accordion, marimba, trumpet,
accompaniment with guitar, performer. double bass are particularly clarinet, among others.
bandoneon and percussion. added.
Table 2 Bolero musical structure
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Interpretation: technical and stylistic aspects
Song MY SOUL GYPSY LAMENT YOU SAID: I LOVE YOU YOU DO NOT LOVE ME
ANYMORE
In two of the three cases it is In both cases it is constant. It In all three cases it is evident In all three cases it is evident
constant. In all three cases it is evident in the long in the long sentences. in the long sentences.
is evident in the long sentences. It varies according Sometimes it's fast vibrato, Sometimes it's a slow vibrato,
sentences. It varies to the performer, sometimes it other times slow. other times it's fast.
Vibrato according to the performer, is a fast vibrato, other times
sometimes it is a fast slow.
vibrato, other times slow.
In all three cases a lyrical In both cases a lyrical sound is Each case is particular, lyrical Each case is particular, lyrical
sound is recognized; it uses evident. An airy sound is used or mixed sonorities are or mixed sonorities are
an airy sound that helps to give emphasis to some presented but with many bel presented but with many bel
emphasize different parts of texts. canto characteristics. An airy canto characteristics.
Sonority
the text and the emotions it voice is used to emphasize
evokes. some texts.
In general it is presented In both cases it is clear and It is clear in all three cases and It is clear in all three cases and
very strong and there is that allows the text to be that allows the text to be that allows the text to be
clarity in the text. Ana María completely understood; in completely understood; in completely understood; in
González emphasizes the general the consonants are general the consonants are general the consonants are
Diction consonants n, l and m. strong. strong. strong.
Libertad Lamarque tends to
combine vowels in the high
register.
Only in Ana María In both interpretations it is In all three cases it is faithful There are small changes in
González's interpretation are faithful to what is proposed in to the text proposed in the phrases and some verb tenses.
the tenses of two verbs the score. score.
modified. In the other two
Text interpretations the text
proposed in the score is
preserved.
Each interpreter manages the Each performer handles the Long phrases are sung using
They emphasize words that
phrasing according to the phrasing according to the the same breath. The ad
melodically have a high
intention they want to give, intention they want to give, libitum sections are more
register. There are rhythmic
sometimes the recited texts sometimes the rhythmic recited.
Phrasing modifications between
are presented, placing figures are anticipated
measures and each
emphasis on them. between measures.
performer handles it at their
discretion.
The use of glissando and The use of glissando and The use of glissando and The use of glissando and
portamento prevails. The portamento prevails. The portamento prevails. The portamento prevails. The
figures of gruppetto and mordant ornament appears. mordant ornament appears. figures of gruppetto and
Ornaments mordente appear in two of mordente appear in two of the
the interpretations. interpretations.
The three interpretations are The two interpretations In two of the cases it Only one of the cases
faithful to the melody preserve the melody proposed maintains the melody maintains the melody proposed
proposed in the score, except in the score, but Nicolás proposed in the score, in the in the score, in the other two
for the last phrase where Urcelay modifies the last other there are small there are modifications in
Melody
each performer modifies the interval. modifications in some some intervals.
final cadence. intervals.
Table 3 Bolero interpretative aspects
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According to the analyzes carried out, María Grever's boleros in the interpretations of Ana
María Gonzáles, Libertad Lamarque, Nicolás Urcelay and Alfonso Ortíz Tirado have the
following particularities:
Interpretive speech in boleros

Mutable elements
• The tones presented are major or minor. These are adapted to the vocal typology of
each performer.
• The form of the song can be modified in its introduction, intermediates and coda.
The repetitions of each part of the song are subject to the taste of the performer.
• The rhythm is very variable, in some cases there is metric modification, in others,
there are ad libitum sections. Each interpretation has its rhythmic particularity. Only
one interpretation maintained the proposed rhythm; This interpretation is one of the
oldest, recorded in 1932.
• Each performer chooses the accompaniment format of their preference, it is very

free. There are accompaniments with string orchestra, with winds, with guitar,
piano, among others.
• The rhythmic dynamics of each performance is subject to the intention that each
singer wants to give and is very free as the feeling that each phrase evokes is
transmitted through this element.
stable elements
• The harmony of the songs is within the tonal system. In general, the boleros preserve
the harmony in which they were written, there are no notable modulations or
reharmonizations.
• Three types of recurring dynamics are presented in all boleros: From piano to
mezzoforte, from mezzoforte to piano and messa di voce.
• Vibrato is present in all interpretations, it is very characteristic of these
compositions, it is evident especially in the long notes. It varies according to the
interpreter and the intention that is given to each interpretation, sometimes it is
presented slowly, sometimes fast.
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• There are voices with many elements of lyrical singing, bel canto techniques, very large
internal spaces that give deep colors to the voice.
• The diction, in general, presents strong consonants, many of the vowels are mixed together,
especially in the high registers, as a technical resource.
• Particularly these boleros preserve their original texts, but in some cases very minor
modifications are presented. Some manner verbs are changed, going from old Spanish to
current Spanish (Example: embriagase, for embriagara).
• Several peculiarities were found in the phrasing, one of them is the use of large air intakes,
which allow long and continuous phrases to be sung. The use of the messa di voce in
interpretations is continuous. The text is emphasized on the high notes, lengthening or
accelerating the internal rhythm of the phrase and on many occasions its rhythm is modified
to place greater emphasis on these, taking the nuance towards forte. Sometimes the
rhythmic figures are anticipated between measures, giving mutable phrasing styles, it is a
resource that does not always occur in the same places, but it is an interpretive resource in
all cases. Ad libitum sections are very common in these interpretations.
• The use of glissando and portamento prevails, they are widely used resources in this genre,
both ascending and descending, in large and small intervals. Two ornaments were found,
the simple guppetto and the mordente, used in some phrase endings, stable in most
interpretations.
• Generally the melodies are stable in all interpretations. Modifications of nearby intervals are
seen that do not change the overall meaning of the song. A peculiarity of some of the
performers is to add a coda, where the final melody varies, giving rise to the modification of
the final cadence.
• The interpretations of Alfonso Ortiz Tirado, who is the oldest performer taken into account
in this work, are the ones that are closest and most similar to the reference scores.
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4.2.2 Musical structure Mexican songs
ON THE EDGE OF A
Song LITTLE STAR AWAY FROM YOU WITHER THE SOUL
PALMAR
Tonality Base key: F Major . Base key: F Major. One Base key: E flat major . Base key: E flat major .
One modifies it, the of the performers lowers One modifies the tone and One preserves the tone and
other preserves it. half a tone to the key the other preserves it. the other modifies it.
proposed in the score and
the other keeps it.
Shape Base form: Base form: Base form: Base form:

• Introduction 2 • Introduction 2 • Introduction 4 • Part A 9 Bars
measures measures measures • Repeat part A
• Part A 8 Bars • Part A 8 Bars • Part A 18 Bars • Part B 9 measures
• Repeat part A • Repeat part A • Repeat part A • Repeat part B
• Part B 8 measures The • Part B 8 measure s The • Part B 18 measures The One interpreter follows the
two performers follow two performers follow the two performers follow the form and the other
the form of the song, form of the song. form of the song, except modifies it.
except for one of them for the introduction of one
who adds an additional of the two versions, where
measure to the they add four measures.
introduction and a four-
measure coda.
Harmony The two versions are The two versions are The two versions are The two versions are based
based on the harmony based on the harmony based on the harmony on the harmony proposed
proposed in the score. proposed in the score. proposed in the score. in the score.
Dynamic In both cases the In both cases the In both cases the dynamics In both cases the dynamics
dynamics proposed in dynamics proposed in the proposed in the score are proposed in the score are
the score are carried out. score are carried out. carried out. carried out.
Rhythm The two interpretations The two interpretations The two interpretations
follow the proposed One of the interpretations follow the rhythm follow the rhythm
rhythmic indications. completely follows the proposed in the score. proposed in the score.
rhythmic indications They add some They add some
proposed in the score. The rallentando that do not rallentando that do not
other interpretation is appear written. appear written.
done completely ad
libitum.
Accompaniment It varies according to the One is piano and voice, It varies according to the It varies according to the
format performer, one is piano the other is accompanied performer, one is piano performer, one is piano
and voice, the other is by a string orchestra. and voice, the other is and voice, the other is
accompanied by a accompanied by a accompanied by a
symphony orchestra. symphony orchestra. symphony orchestra.
Table 4 Musical structure of Mexican songs
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Interpretation: technical and stylistic aspects
ON THE EDGE OF A
Song LITTLE STAR AWAY FROM YOU THE SOUL WITHERS
PALMAR
In both cases the vibrato In both cases the vibrato is In both cases the vibrato is In both cases the vibrato is
is always present. always present. always present. always present.
Vibrato
The two timbres are The two timbres are The two timbres are typical The two timbres are typical
Sonority typical of lyrical voices. typical of lyrical voices. of lyrical voices. of lyrical voices.
In one of the cases the In one of the cases the In both cases there is In one of the cases the
diction is very clear, the diction is very clear, the strong diction, with very diction is very clear, the
consonants are strong. In consonants are strong. In marked consonants. consonants are strong. In
the other case, due to the the other case, due to the the other case, due to the
height of the notes, the height of the notes, the height of the notes, the
Diction vocal pattern is modified, vocal mold is modified, vocal pattern is modified,
causing some texts to be making some texts weak. causing some texts to be
poorly marked. poorly marked.
One version adds a word Both versions make minor Both versions follow the Both versions follow the
to a phrase, the other is modifications to the text. text that appears written in text that appears written in
completely faithful to the the score. the score.
Text text of the score.
In both cases, all the One of the performers The two performers follow The two performers follow
written instructions performs the entire song ad all the phrasing all the phrasing instructions
regarding phrasing are libitum, making the instructions proposed in proposed in the score.
followed, there are no phrasing varied, according the score.
modifications of any to his criteria. The other
Phrasing kind. performer follows all the
phrasing instructions
proposed in the score.
The use of glissando and The use of glissando and The use of glissando and The use of glissando and
Ornaments portamento prevails. portamento prevails. portamento prevails. portamento prevails.
The melody that appears The melody that appears The melody that appears The melody that appears
written in the score is written in the score is written in the score is written in the score is
Melody completely maintained. completely maintained. completely maintained. completely maintained.
Table 5 Interpretative aspects of Mexican songs
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According to the analyzes carried out, the songs of Manuel M. Ponce in the interpretations
of the singers Encarnación Vázquez, Alfonso Ortiz Tirado and Alfredo Kraus have the
following particularities:
Interpretive discourse in Mexican songs

Mutable elements
• The tones found are greater. These are adapted in some cases to the vocal typology
of each performer.
• All performers essentially follow the form proposed in the reference score. Some
modify or add introduction and in some cases a coda is added.
• These songs are performed with piano or symphony orchestra accompaniment.
stable elements
• The harmony of the songs is within the Western tonal system. No type of
reharmonization is carried out in any of the interpretations, that is, they are
interpreted based on the reference score.
• The dynamics of each interpretation are subject to the indications of the score. The
messa di voce predominates, a characteristic resource of the bel canto technique.
• Rhythm is one of the most stable characteristics within these interpretations, each
written figure is interpreted.
• Vibrato is a resource that is present all the time in all interpretations, especially in
long notes.
• The voices are imposed all the time, that is, the sound of lyrical singing prevails.
• The consonants are strong all the time. On some occasions the vowels are combined
to be able to interpret high-pitched texts, as a technical resource.
• The interpreted texts are faithful to those written in the reference scores.
• All phrasing indications proposed in the score are respected. Ritardando, rubato,
rallentando, crescendo and diminuendo are some of the predominant indications.
• The use of glissando and portamento prevails, they are widely used resources in this
genre, both ascending and descending, in open and closed intervals.
• The melody is completely performed exactly as it appears written in the score.
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• In general, this genre maintains all the musical and interpretive characteristics that
are proposed in the reference scores.
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5. Conclusions: Voices of Mexico in the 20th century
The historical tracing carried out shows a wide range of interpretative elements of both
genres that were classified as mutable and stable. These vocal characteristics determine the
interpretation of the selected Mexican songs and show how the interpretative discourse
established by Mexican music singers of the 20th century is constructed. The synthesis of
these characteristics is presented below:
In the first instance, the interpretative discourse of the Mexican bolero has great flexibility
in several of its elements. Its shape can be modified, some recordings with ABA or AAB
shape were found, among others. The tonality can vary according to the vocal capabilities of
each performer or according to the color you want to give it. The phrasing and rhythm have
a close relationship with the singer's intention, sometimes syncopations are added or
ritardandos are made or, on the contrary, the phrases are accelerated. The timbre can also be
modified, sometimes there are airy sounds or others typical of a white voice, also mixed
with the lyrical sounds. The ornaments presented have an internal flexibility, there may be
glissandos or portamentos that are used according to the singer's decision. The format can
also be modified, since within the analyzed recordings, string orchestra accompaniment
formats were found, different from what was originally written, which was piano and voice.
In this way the bolero has great interpretive freedom, most of its elements can be modified
to the singer's taste and comfort, which makes each version unique.
All this in contrast to the Mexican song. This genre does not have the same flexibility. Its
form is stable, the rhythm adheres to what is written in the score, although sometimes the
calderones and ritardando can be interpreted at the singer's discretion. The timbre is
maintained, the vibrato is constant and stable, all the voices are covered, more directed
towards the sonority of lyrical singing. The predominant format is piano and voice, although
there are also some adaptations for orchestra after the composer's time. In this way, a
reliable guide for its interpretation is found in the score.
One of the most important findings in this study is the particularity of the sonority of the
bolero interpretations. Sounds with characteristics typical of lyrical singing were found,
directly related to the findings of the historical consultation found in the second chapter of
this work, for example, the fact of the arrival of opera companies to Mexico in the 19th
century. The arrival of opera to the country led to the introduction of lyrical singing into the
popular sphere of Mexican singers. The use of elements such as vibrato, glissando and
portamentos predominates.
The bolero, in addition, has a great timbral evolution throughout the period studied, because
the interpretations made towards the second part of the century progressively changed, there
elements of more natural voices or those that tend towards the popular are evident, unlike
the interpretations of the first half of the century that have operatic color.
When beginning this research, it had been planned to select only Mexican singers for the
analysis, but along the way the concern arose to know if this selected repertoire was sung in
the same way in other countries, which is why in the development of the methodology,
exactly in The selection of the repertoire includes interpretations by the Argentine Libertad
Lamarque and the Spanish Alfredo Krauss. This was how it became evident that their
interpretations adhered to the characteristics used by Mexican singers.
On the other hand, the conception of the interpretation of Mexican academic song remains
intact throughout the century. Completely lyrical sounds were found, a characteristic
consistent with the finding of the historical consultation carried out, as evidenced in the first
part of this work. This is why a stable genre is configured, without major interpretative
modifications and that adheres to its own style structured from its beginnings, which
remains this way to this day and will possibly remain stable in the future.
Taking into account the above, it can be concluded that there are genres that remain stable
over time such as the Mexican song and others that evolve such as the bolero, influenced by
different factors such as cultural hybridization, the exploration of popular vocal styles, the
vocal training of the performer as well as their interpretive style, the time in which they
developed, among others. In this way there are no right or wrong interpretations, but there is
freedom in choosing the style you want to use. Thus each singer makes his own
interpretation, having a large bank of resources, he can add or subtract the characteristics of
each genre.
7
8
In short, carrying out this research work significantly contributed to the author's
development as a singer and pedagogue interested and concerned about preserving the roots
of traditional music from any region, on this occasion, those of the genres analyzed in this
work. This historical tracing was very useful, since it allowed him to find a clear
methodological path and also be able to replicate it in the genres he wishes to interpret after
this research. In this way contributions are made for the interpretation of other singers.
The result of all this work was to establish the interpretative discourse of the two selected
genres, satisfactorily responding to the initial concerns and leaving the door open to other
questions that arise from all this research.
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9
Glossary
The definitions found below are used in the first and second level of analysis and were
extracted from The Harvard Dictionary of Music, Dictionary of the Spanish Language,
What you want is to sing, vocal studio method, Windows to the Universe and Oxford
Dictionary of the music.
On tempo: On time, return to the previous tempo.
Ad libitum: At will, the speed and manner of execution of the work are left to the choice of
the performer.
Andante: Moderately slow; Since the end of the 18th century it has been used to indicate a
speed between *adagio and *allegro.
Cesura: Term sometimes used interchangeably with “calderón” to indicate a note that is
held for longer than its written value.
Climax: It is the point of greatest intensity or strength in a growing series; that is, the
culmination.
Constriction: Action of squeezing and closing, as if by squeezing.
Diminuendo: “Decreasing”, that is, gradually softer.
Forte: “Strong”, “with strength”; Its abbreviation is f.
Glissando: Gliding from one note to another. It is not a genuinely Italian word but the
Italianization of the French verb glisser, which means “to slide”, “to slide”, passing through
all the notes in between.
Gruppetto: “Small group”, “little group”; In the 16th century it was used to designate a
*trill, but some time later its meaning changed to *turn (group of four notes).
Wavelength: The length of a wave describes how long the wave is. The distance between
two consecutive crests or troughs is what we call wavelength.
Mask: Set of resonators used in the human voice, and which are located on the back of the
8
0
face, as if it were a mask. And this is the name that has traditionally been given to the upper
facial resonators, that is: The upper incisor teeth, the hard palate, the nasopharyngeal tract,
the nasal passages, and the paranasal sinuses.
Messa di voce: Baroque term for a vocal technique that continues to be used as a singing
teaching method. It consists of a note held for a long time, increasing in intensity until
reaching a climax, followed by a diminuendo that ends in pianissimo.
Mezzoforte: Medium strong; that is, moderately strong.
Mordente: Ornament that consists of the rapid and marked alternation between the main
note, the lower auxiliary note and the main note again. It is written with the sign m, and in
its inverted form it uses the upper auxiliary note instead of the lower one.
Ornament: Embellishment of a melodic line and, less frequently, a harmonic line.
Portamento: It means perfectly joining two registers in such a way that they flow to the
same tone. The portamento slightly anticipates a note with the vowel of the previous
syllable. The difference between portamento and glissando is that the first is only the union
of two tones, while the second involves the execution of all the tones that are in between.
Rallentando: “Slowing down”, “gradually reducing speed”; It is usually abbreviated rall.
Ritardando: “Retardando”, “delayed”, “retaining”, “retained”, that is, reducing the speed
gradually, just like slowing down, the abbreviation rit is usually used.
Rubato: (it., “stolen”, that is, “flexible”; tempo rubato, “flexible time”). Flexible
interpretation that deviates from real strict time, “stealing” or “modifying” the value of
some notes to obtain an expressive effect and create a spontaneous atmosphere.
Tenuto: Maintained; that is, playing a note a little longer than usual, but without altering
the overall value of the note.
Lyrical voice: Characteristic of operatic repertoires. In a lyrical voice, the work of the
union between the different registers of the voice is recognized through vibrato, glissandos
and portamentos. Another characteristic is the power and color of this type of voices.
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Mixed voice: In a mixed voice, the lightness of the head voice with chest resonance is
recognized, making it possible to interpret high registers more easily.
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83
Bibliography
• BOTTARO, FRANCISCO . Jaime Rico Salazar (1991) One Hundred Years of

Boleros. Its history, its composers, its performers and 500 unforgettable boleros .
• CARVAJAL, ALBERTO . Lied and Mexican art song (2017). Notes to the program
to obtain the bachelor's degree in music. National Autonomous University of Mexico.
• DESCHAUSSÉES, M. (1991). The performer and the music. (R. Torrás, Trans.)
Madrid, Spain: RIALP Editions.
• ESTRADA, TERE (2006) María Grever: A Mexican minstrel in New York , article
for Correo del Maestro magazine, annual index, year 21.
• ÉVORA, TONY (2001), The Bolero Book, Madrid: Alianza Editorial SA
• FIGUEROA, FLORES, MOSQUEDA, MORENO (2009) Mexican composer

“María Grever ”. Mexican Culture S. XX and XXI. Music.
• KURY ALDANA, MARIO Y MENDOZA, VICENTE (1992), Mexican popular

songbook, selection, compilation and texts.
• LATHAM, ALISON (2008) Encyclopedic Dictionary of Music (Oxford Companion

to Music 1938), first edition in Spanish for the 21st century.
• LLAMAZARES, RO (2018) What you want is to sing, vocal studio method.
• LONDOÑO DIAZ, MAURICIO (2017) The bolero: Latin American literature and
popular music. Degree work Faculty of Social Sciences Career of Literary Studies
Bogotá, Pontificia Universidad Javeriana.
• MENDOZA, VICENTE T. (1961), The Mexican song, classification essay and

anthology, Mexico: Institute of Aesthetic Research, National Autonomous University
of Mexico.
• MENDOZA, VICENTE T. (1984), Panorama of the traditional music of Mexico,

Mexico: Institute of aesthetic research, studies and sources of art in Mexico.
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• NATIONAL EARTH SCIENCE TEACHERS ASSOCIATION (2012) Windows
to the Universe.
• PEZA DE LA, MARÍA DEL CARMEN (2000) Bolero and sentimental education ,
Mexico: Editorial Miguel Ángel Porrúa.
• PODESTÁ ARZUBIAGA, JUAN, (2007) Notes on the bolero: from African slavery
to globalization . Magazine of Social Sciences (Cl), (second semester) Recovered
from:
http://www.redalyc.org/articulo.oa?id=70801906 > ISSN 0717-2257
• PRIETO, CARLOS (2015) Mexican music: the 20th century, Manuel M. Ponce.
Retrieved from: https://musicaenmexico.com.mx/musica-mexicana/manuel-m-ponce/
• RANDEL, DON MICHAEL (2003 ) The Harvard Dictionary of Music . Harvard

University Press.
• BURBANO, STEPHANIE (2019) Cerquita del Corazón , Interpretative Proposal for the
Ayacucho wayno style.
• ROYAL SPANISH ACADEMY (2001) Dictionary of the Spanish language, twenty-

second edition.
• RICO SALAZAR, JAIME (1988) One Hundred Years of Boleros , second edition.
• RINK, J. (2006). Musical performance (musical performance a guide to

understanding). (J. Rink, Ed., & B. Zitman, Translated) Madrid: Alianza Editorial.
• VEGA, HECTOR (2010) traditional Mexican music: between folklore, tradition and
world music. HAOL Magazine, No. 23 (Fall, 2010), 155-169. National Autonomous
University of Mexico. Recovered from: file:///C:/Users/use/Downloads/Dialnet-
LaMusicaTraditionalMexicanEntreElFolcloreLaTradic-3671093.pdf
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Annexes
On the CD you will find the recordings on which this work was based.
YEAR OF
COMPOSER INTERPRETERS SONGS RECORDING
gypsy lament 1933

My Soul 1972
Ana Maria Gonzalez
My Soul 1955
Maria Grever
Liberty Lamarque You said: I love you 1953
Bolero
My Soul 1948
gypsy lament 1948

Nicolas Urcelay
Alfonso Ortiz Tirado little Star 1933
little Star 1999

Manuel M. Ponce Encarnacion Vazquez
Away from you 1999
Mexican academic Withers the soul 1999
song
Alfredo Kraus Away from you 1959
Withers the soul 1959
8
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VOICES FROM MEXICO:

INTERPRETATIVE TRACKING OF SONGS BY MARÍA GREVER AND

ÁNGELA MARÍA VELANDIA BASTIDAS

NATIONAL PEDAGOGICAL UNIVERSITY OF COLOMBIA

ÁNGELA MARÍA VELANDIA BASTIDAS

DEGREE WORK TO OPT FOR THE DEGREE OF DEGREE IN MUSIC

NATIONAL PEDAGOGICAL UNIVERSITY OF COLOMBIA

Approval date: 10-10-2012 page 1 of 2

Document type DEGREE WORK

Document access NATIONAL PEDAGOGICAL UNIVERSITY, LIBRARY, FACULTY OF FINE ARTS

VOICES OF MEXICO: INTERPRETATIVE TRACKING OF SONGS BY MARÍA

Director ALEXANDRA ÁLVAREZ YEPES

Publication BOGOTÁ, NATIONAL PEDAGOGICAL UNIVERSITY, 2019.

Sponsoring Unit NATIONAL PEDAGOGICAL UNIVERSITY, UPN.

Approval date: 10-10-2012 Page 2 of 2

Produced by: Angela Maria Velandia Bastidas

Reviewed by: GL Glo

1.2 Research question

1.3.2 Specific objectives

• Evidence the influential historical factors in the configuration of the interpretative

• Interpretation, Mexican song, bolero.

Mendoza (1961, p. 45) states the following:

The structure consists of two periods

First period: divided into two semi-periods or four members

First half period: M _________m _____

Second period: equally divided into two semi-periods or four members

First half period: O _________either __

Second half period: N _______n ______(Ritornelo)

Literally speaking, each period is a stanza of two hendecasyllabic verses (generally).

After all this, in the words of Hector Vega (2010, p. 159):

2.2.2 Manuel M. Ponce

3. Methodology: Musical-interpretive analysis

gypsy lament 1933

gypsy lament 1948

You do not love me anymore 1948

Alfonso Ortiz Tirado little Star 1933

On the edge of a palm grove 1999

little Star 1999

Alfredo Kraus Away from you 1959

Withers the soul 1959

Table 1 Selected repertoire

Technical sheet of the song

Performer: Ana María González

Recording year: 1972

Genre: Bolero 4/4

• Part A 16 bars (Alma mia sola...)

Recording year: 1955

Genre: Waltz 3/4

Recording year: 1948

Genre: Waltz 3/4

Performer: Alfonso Ortiz Tirado

Recording year: 1933

Genre: Song 6/8

Recording year: 1948

Genre: Bolero 4/4

Performer: Alfonso Ortiz Tirado

Recording year: 1932

Genre: Bolero 4/4

Recording year: 1953

First half period: M _____m _

First half period: O _______either

Second half period: N _n (Ritornelo)