Critical Edition and Interpretative Analysis of Música para Orquesta de Vientos y Percusión Op. 152 by Blas Emilio Atehortúa.

Authors

Rubén Darío Gómez, University of Nebraska - LincolnFollow

First Advisor

Carolyn Barber

Date of this Version

5-2020

Document Type

Thesis

Citation

Gómez, Rubén D. "Critical Edition and Interpretative Analysis of Música para Orquesta de Vientos y Percusión Op. 152 by Blas Emilio Atehortúa." PhD diss., University of Nebraska-Lincoln, 2020.

Comments

A Doctoral Document Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor in Musical Arts, Major: Music (Wind Band Conducting), Under the Supervision of Professor Carolyn Barber. Lincoln, Nebraska: May, 2020

Copyright 2020 Rubén Darío Gómez P.

Abstract

This document presents a critical edition of the band piece called Música para Orquesta de Vientos y Percusión Op. 152 by Colombian composer Blas Emilio Atehortúa, as well as an interpretative analysis of it. Until today, the only original written material of the piece is a set of instrumental parts in manuscript form. The full score and any form of a reduced or condensed score are missing. Throughout the process of making the present critical edition, the author clarified and reconciled the original manuscript parts, create a complete full score, and produced an engraved set (parts and score).

This document also features a biographical sketch of the composer with emphasis on his production for winds and percussion, some reasons why it is important to edit his pieces, and some of the unfortunate consequences of the lack of professional editions in a moment when modern music notation tools are widely available. An explanation of the editing process, the challenges faced by the author and how they were solved, and a detailed list of all the errors, discrepancies, inconsistences, and editorial contributions will be also found. The interpretive analysis has been approached as a list of suggestions based on Atehortúa’s use of musical materials, his orchestration, and intentions, orienting conductors and players toward highlighting the most vital aspects of his compositional voice.

Additional material includes an updated catalogue of Atehortúa’s output for winds and percussion, and excerpts from an informal conversation between the author, maestro Atehortúa, and his wife.

Advisor: Carolyn Barber