El canto de Alicia Maguiña Málaga en “El veneno” de 1976: Un análisis de su estilo e interpretación vocal
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2024-06-27
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Universidad Nacional de Música
Resumen
El aporte que se presenta en este artículo es la realización de un análisis musical del estilo y la interpretación vocal de Alicia Maguiña Málaga en el triste con fuga de tondero “El Veneno”, pieza recopilada por la misma intérprete en Piura en 1968, y grabada su primera versión en 1976, para Odeón–IEMPSA en el LP Te adoro tierra mía (ELD 02.01.538), con el acompañamiento de la guitarra de Carlos Hayre. Material que, por ser la grabación más cercana a la fecha de su recopilación será utilizado para este análisis.
Mi aporte fue: primero, analizar las cualidades y recursos vocales que empleaba Alicia Maguiña en su interpretación; para ello, tuvimos que hacer una transcripción del audio grabado en 1976 a partitura, utilizando el editor de partitura Sibelius; donde las cualidades y recursos vocales que adoptó la intérprete fueron transcritos al lenguaje musical y luego descrita de forma narrativa y gráfica. Y segundo, acercarnos a la vida y formación artística de la intérprete, para conocer su estilo interpretativo.
Las cualidades y recursos más recurrentes encontrados a lo largo de toda la pieza fueron: la buena dosificación de aire, agilidad vocal, variación rítmica, el uso de firulete, glissandi (ascendente y descendente), vibratos, apoyaturas, una gran variedad de dinámicas, intensidades, carácter y agógica que se matiza adecuadamente con el contenido de la letra y la melodía; se destaca el empleo de vibrato ligero al final de casi todas las frases, siendo este una floritura muy utilizada en el canto del tondero. Emplea diferentes colocaciones vocales, a veces con un color claro y, a veces, con un color oscuro, y con ello logra replicar un sentimiento orgánico en su interpretación.
The contribution presented in this article is the realization of a musical analysis of the style and vocal performance of Alicia Maguiña Málaga in the triste con fuga de tondero “El Veneno”, a piece compiled by the same performer in Piura in 1968, and recorded its first version in 1976, for Odeón–IEMPSA on the LP Te adoro tierra mía (ELD 02.01.538), with the guitar accompaniment of Carlos Hayre. Material that, because it is the closest recording to the date of its compilation, will be used for this analysis. My contribution was: first, analyze the vocal qualities and resources that Alicia Maguiña used in her interpretation; To do this, we had to make a transcription of the audio recorded in 1976 into score, using the Sibelius score editor; where the vocal qualities and resources adopted by the performer were transcribed into musical language and then described in a narrative and graphic way. And second, get closer to the life and artistic training of the performer, to learn about her interpretive style. The most recurrent qualities and resources found throughout the entire piece were: good dosage of air, vocal agility, rhythmic variation, the use of firulete, glissandi (ascending and descending), vibratos, appoggiaturas, a great variety of dynamics, intensities, character and agogic that are appropriately nuanced with the content of the lyrics and the melody; The use of light vibrato at the end of almost all the phrases stands out, this being a flourish widely used in the singing of the tondero. He employs different vocal placements, sometimes with a light color and sometimes with a dark color, and thereby manages to replicate an organic feeling in his performance.
The contribution presented in this article is the realization of a musical analysis of the style and vocal performance of Alicia Maguiña Málaga in the triste con fuga de tondero “El Veneno”, a piece compiled by the same performer in Piura in 1968, and recorded its first version in 1976, for Odeón–IEMPSA on the LP Te adoro tierra mía (ELD 02.01.538), with the guitar accompaniment of Carlos Hayre. Material that, because it is the closest recording to the date of its compilation, will be used for this analysis. My contribution was: first, analyze the vocal qualities and resources that Alicia Maguiña used in her interpretation; To do this, we had to make a transcription of the audio recorded in 1976 into score, using the Sibelius score editor; where the vocal qualities and resources adopted by the performer were transcribed into musical language and then described in a narrative and graphic way. And second, get closer to the life and artistic training of the performer, to learn about her interpretive style. The most recurrent qualities and resources found throughout the entire piece were: good dosage of air, vocal agility, rhythmic variation, the use of firulete, glissandi (ascending and descending), vibratos, appoggiaturas, a great variety of dynamics, intensities, character and agogic that are appropriately nuanced with the content of the lyrics and the melody; The use of light vibrato at the end of almost all the phrases stands out, this being a flourish widely used in the singing of the tondero. He employs different vocal placements, sometimes with a light color and sometimes with a dark color, and thereby manages to replicate an organic feeling in his performance.
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Recursos vocales, Técnica vocal, Estilo vocal, Interpretación, Alicia Maguiña
Citación
Salvio Aldana, J. D. (2024). El canto de Alicia Maguiña Málaga en “El veneno” de 1976: Un análisis de su estilo e interpretación vocal. Antec: Revista Peruana De Investigación Musical, 8(1), 222-248. https://doi.org/10.62230/antec.v8i1.217
