Eliseo Pinedo y su ámbito musical (1908-1969): Estudio biográfico, social y cultural
The lack of researches on the musical society in La Rioja in the 20th Century, the people who formed it and the social and cultural environment in which they lived, serves as pretext and motivation for this thesis, that uses the musical realm of the composer and director Eliseo Pinedo López (1908-1969) as a common thread. At first, a documented vision is given to get a biographical account, through a narrative and descriptive plot with the professional resources used by Pinedo in the central decades of the 20th Century. Along with it, cross-sectional information has been provided on the different locations in which he lived (Zarratón, Haro, Tudela, Logroño) and the educational and musical cultural context in which he actively participates. His regional influence as band director, musical promoter and the achievement of the educational project of a conservatory contribute to justify this travel over his professional career. Secondly, the study shows an unknown angle by Pinedo as a folklorist, that provides unidentified sources for later works on popular music in the region. In addition, these musics have an essential reflection in his compositional language, since he is linked to them in a very personal way. Finally, an annotated catalog of his original work is made containing analysis of numerous pieces on various genres in which he worked: zarzuela, popular repertoire for dance orchestras, symphonic and band music, all of them derived from the music industry of the moment or his professional development needs. Despite being a study on a local model, this research based on Pinedo and his work reveals different behaviors in common with other contemporary musicians in Spain. He shares with them an isolationism derived from the location in provinces, but also similar ways of approaching music as a profession, especially in the Spanish post-war period. As results of this research, recurrent procedures with contemporary people are located and defined outside the circle of the great names. This perspective from below shows a musician who could be paradigmatic of the basis of the Spanish musical society of the period studied and therefore must make himself known.
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