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Three String Quartets by Contemporary Bolivian Composers Naomi K
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2002 Three String Quartets by Contemporary Bolivian Composers Naomi K. Gjevre Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC THREE STRING QUARTETS BY CONTEMPORARY BOLIVIAN COMPOSERS By NAOMI K. GJEVRE A Treatise submitted to the School of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded Fall Semester, 2002 Copyright © 2002 Naomi K. Gjevre All Rights Reserved The members of the Committee approve the treatise of Naomi K. Gjevre defended on November 6, 2002. Karen Clarke Professor Directing Treatise James Croft Outside Committee Member Phillip Spurgeon Committee Member Lubomir Georgiev Committee Member The Office of Graduate Studies has verified and approved the above named committee members. TABLE OF CONTENTS List of Examples........................................................................................................................... v Abstract........................................................................................................................................vii INTRODUCTION.........................................................................................................................1 I. BOLIVIA WITHIN THE CONTEXT OF WESTERN ART MUSIC IN LATIN AMERICA..........................................................................................................…... -
Terceros, Isaac (Universidade De São Paulo): “Brief Overview of the Musical Dialogue Between Bolivia and United States”
CULTURAL COUNTERPOINTS: Examining the Musical Interactions between the U.S. and Latin America Terceros, Isaac (Universidade de São Paulo): “Brief overview of the musical dialogue between Bolivia and United States” Abstract: This paper presents a results overview of the musical relationship between Bolivia and United States in the few last years. In this context, composers like José Velasco Maidana (c. 1899-1989) and Jaime Mendoza Nava (1925-2005) lived in the United States, opening in this way the doors for certain American influence in Bolivia, a country characterized by an appreciation and defense of its original culture. Thus, we show that a meaningful compositional dialogue has been established. One outcome of this dialogue took shape with the Orquesta Experimental de Instrumentos Nativos (OEIN), whose innovative aesthetic positioning, has stimulated an intercultural reflection integrating musical traditions of the Aymara and Western musical language. In the performance field, intercultural projects have been developed from the exchange of musicians and conductors – as the renowned violinist Jaime Laredo (b. 1941), the guitarist Piraí Vaca, or conductor Kenneth Sarch – resulting, for example, the foundation of the Orquesta Sinfónica Juvenil de Santa Cruz de la Sierra (OSJ). In the academic area, Bolivian composers have benefited from initiatives such as the Centro Latinoamericado de Altos Estudios Musicales del Instituto Torcuado Di Tella in Buenos Aires, where received instruction Alberto Villalpando (b. 1940), responsible for the formation of two generations of composers in Bolivia. Thus, technical and aesthetic aspects of musical composition in works resulting from the interdisciplinary dialogue above, were identified and will be presented in this paper. -
Di Tella Institute
Please do not remove this page Di Tella Institute Herrera, Eduardo https://scholarship.libraries.rutgers.edu/discovery/delivery/01RUT_INST:ResearchRepository/12643410400004646?l#13643529460004646 Herrera, E. (2016). Di Tella Institute. In Routledge Encyclopedia of Modernism. Routledge. https://doi.org/10.7282/T3251MDN This work is protected by copyright. You are free to use this resource, with proper attribution, for research and educational purposes. Other uses, such as reproduction or publication, may require the permission of the copyright holder. Downloaded On 2021/09/27 14:35:37 -0400 Di Tella Institute (Art Centers) By Eduardo Herrera The Di Tella Institute was created in 1958 in Buenos Aires, Argentina, and during the following years grew as a conglomerate of centers for cutting-edge research in multiple areas of knowledge. Under the directorship of Enrique Oteiza and Guido Di Tella, the Instituto Torcuato Di Tella functioned through two branches, the scientific research centers and the art centers. The scientific research centers were the CIE (Center of Economic Research), CIS (Center for Social Research), the CEUR (Center for Urbana and Regional Studies), the CIAP (Center for Research in Public Administration), the CICE (Center for Research in Educational Sciences) and the CIN (Center for Neurological Research). The art branch consisted of the CLAEM (Latin American Center for Advanced Musical Studies), the CAV (Center for Visual Arts) and CEA (Center for Audiovisual Experimentation), together with a department of photography and graphic design. The CAV was created in 1960 under the directorship of art critic Jorge Romero-Brest, a crucial figure for the establishment of avant-garde trends in Argentina. -
Cuadernos De Análisis Y Debate Sobre Músicas Latinoamericanas Contemporáneas
CUADERNOS DE ANÁLISIS Y DEBATE SOBRE MÚSICAS LATINOAMERICANAS CONTEMPORÁNEAS P ublicación tem ática anual A ño III – Número 3 B uenos Aires, 2020 ______________________________________________________________________ Instituto Nacional de Musicología “Carlos Vega” Instituto de Investigación Musicológica “Carlos Vega” de la Facultad de Artes y Ciencias Musicales de la Universidad Católica Argentina Facultad de Artes y Diseño de la Universidad Nacional de Cuyo ISSN 2618-4583 1 2 Cuadernos de Análisis y Debate sobre Músicas Latinoamericanas Contemporáneas Publicación temática anual Año 3 – Número 3 Buenos Aires, 2020 Instituto Nacional de Musicología “Carlos Vega” Instituto de Investigación Musicológica “Carlos Vega” de la Facultad de Artes y Ciencias Musicales de la Universidad Católica Argentina Facultad de Artes y Diseño de la Universidad Nacional de Cuyo 3 ISSN 2618-4583 Cuadernos de Análisis y Debate sobre Músicas Latinoamericanas Contemporáneas es una publicación temática anual coeditada por las siguientes instituciones: Instituto Nacional de Musicología “Carlos Vega” México 564 (1097) Buenos Aires Argentina. Tel: (54 11) 436 1 652 0 Email : [email protected] https://inmcv.cultura.gob.ar Instituto de Investigación Musicológica “Carlos Vega” Facultad de Artes y Ciencias Musicales – Universidad Católica Argentina Av. Alicia Moreau de Justo 1500 http://www.iimcv.org/ Carreras Musicales de la Facultad de Artes y Diseño Universidad Nacional de Cuyo Ciudad Universitaria s/n, Mendoza, Argentina Tel: 261-413500 (int) 2388 - 2389 Email: [email protected] -
Festival De Música Contemporánea En Buenos Aires
DOCUMENTOS “Resonancias de la modernidad” Festival de Música Contemporánea en Buenos Aires por Miguel Letelier Valdés [email protected] Facultad de Artes, Universidad de Chile, Chile Con el alto auspicio de la Secretaría de Cultura de la Presidencia de la Nación y en la representación de este organismo, el Secretario de Cultura Jorge Coscia, junto al Director Nacional de Artes José Luis Castiñeira de Dios y el organizador y Director del Festival Eduardo Kusnir, se ha realizado en la Ciudad de Buenos Aires, entre los días 16 y 25 de junio de 2011, el Festival denominado “Resonancias de la modernidad”, en conmemoración de los 50 años de la puesta en marcha del Instituto del Centro Latinoamericano de Altos Estudios Musicales Torcuato di Tella (CLAEM), fundado por el maestro (QEPD) Alberto Ginastera el año 1971. No es común en nuestra latinoamérica que el Estado desembolse semejantes cantidades de dinero –aunque sigan siendo ínfimas de todas maneras en relación con otros gastos– en un Festival cuya excepcional organización no escatimó pagos en pasajes, hoteles, traslados, comidas, etc. La presentación gráfica se materializó en un magnífico libro de lujosa impresión, en el cual se describe la fecunda y a la vez azarosa trayectoria del CLAEM. Esta publicación contiene opiniones y puntos de vista, artículos, memorias, descripciones, fotografías de los diferentes compositores y becarios, currículum de cada uno de los que aportaron con su trabajo al Instituto, actividades musicales y artísticas, etc. Estuvo acompañada de un folleto no menos importante con las actividades del Festival, programas de conciertos, horarios, y descripciones de las obras, que contemplaron actividades como “experiencias poliartísticas”, denominadas “obras”, las que consistieron en performances experimentales con alto contenido teatral-literario y de pantomima gestual, cuya base de fondo es la improvisación musical. -
The Southern Tip of the Electroacoustic Tradition L’Extrémité Sud De La Tradition Électroacoustique Ricardo Dal Farra
Document generated on 09/30/2021 4:37 p.m. Circuit Musiques contemporaines --> See the erratum for this article The Southern Tip of the Electroacoustic Tradition L’extrémité sud de la tradition électroacoustique Ricardo Dal Farra e Plein sud : Avant-gardes musicales en Amérique latine au xx siècle Article abstract Volume 17, Number 2, 2007 Music and electronic technologies were matching forces a long time ago in Latin America. Many composers from different countries of the region were URI: https://id.erudit.org/iderudit/016840ar attracted by the new possibilities that the tape recording at first, then the DOI: https://doi.org/10.7202/016840ar voltage-controlled synthesizer and the computers, were offering. This article includes excerpts from interviews to composers César Bolaños See table of contents from Peru, Alberto Villalpando from Bolivia and Manuel Enríquez from Mexico. They were selected to offer the reader an approach to the work and thinking of some widely recognized Latin American composers whose artistic production included electroacoustic music during the pioneering year Publisher(s) Les Presses de l'Université de Montréal ISSN 1183-1693 (print) 1488-9692 (digital) Explore this journal Cite this article Dal Farra, R. (2007). The Southern Tip of the Electroacoustic Tradition. Circuit, 17(2), 65–72. https://doi.org/10.7202/016840ar Tous droits réservés © Les Presses de l'Université de Montréal, 2007 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. -
Artnodes REVISTA DE ARTE, CIENCIA Y TECNOLOGÍA
Universitat Oberta de Catalunya artnodes REVISTA DE ARTE, CIENCIA Y TECNOLOGÍA http://artnodes.uoc.edu ARTÍCULO NODO: «HISTORIA(S) DEL ARTE DE LOS MEDIOS» El archivo de música electroacústica latinoamericana… diez años después Ricardo Dal Farra Profesor del Departamento de Música Director asociado del Hexagram Centre for Research-Creation in Media Arts and Technology Concordia University (Canadá) Fecha de presentación: octubre de 2013 Fecha de aceptación: noviembre de 2013 Fecha de publicación: noviembre de 2013 Resumen La creación musical con medios electroacústicos tiene una larga, interesante y prolífica his- toria en América Latina. Muchos de los compositores que han nacido o vivido en la región desarrollaron una destacada tarea en el campo de la música electroacústica, comenzando sus actividades de experimentación y creación hace alrededor de sesenta años, en algunos casos. Sin embargo, la posibilidad de acceder a grabaciones e información relativa a este ámbito ha sido siempre difícil, tanto para educadores, compositores, intérpretes, investigadores y estu- diantes como para el público en general. En un esfuerzo por preservar, documentar y difundir al menos parte de la creación musical realizada con medios electroacústicos por compositores nacidos en América Latina, o claramente vinculados con esta región, fue creado un archivo en la Fundación Daniel Langlois para el Arte, la Ciencia y la Tecnología de Montreal hace casi una década. Desde entonces es consultado ampliamente y ha facilitado la recuperación y el reconocimiento de la obra de compositores cuyos trabajos habían sido olvidados o perdidos, y ayuda así a la memoria colectiva a valorar los logros y las dificultades de quienes nos precedieron, para comprender mejor el presente, y pensar nuestro futuro. -
The Resource-Instance Model of Music Representation
[Menu with links to multimedia documents] Latin American Electroacoustic Music Collection Ricardo Dal Farra The Daniel Langlois Foundation for Art, Science and Technology [email protected] Abstract Latin American electroacoustic music has a long, interesting, strong and prolific history, but it’s a history that is little known even within the region itself. Many composers born or living in Latin America have been very active in this field, in some countries as far back as some 50 years, but the availability of electroacoustic music recordings and information in Latin America has been a problem for educators, composers, performers, researchers, students and the general public. In an effort to preserve, document and disseminate at least a portion of the electroacoustic music created by Latin American composers, an archive has been developed at the Daniel Langlois Foundation for Art, Science, and Technology and is now open to the public. 1 Introduction The development of electroacoustic music seems to be associated with a few countries where the pioneering activities started. But the creation of music using electroacoustic technologies in a contemporary manner (in spite of some differences I will refer to the term “electroacoustic music” in this document) has also been of great interest to composers living in Latin American countries since before the 1950s. However, there is a significant lack of information in this respect, and little research has been conducted in this area. Having started to work in the electroacoustic music field during the mid '70s in my native country of Argentina, I found it very difficult to obtain information on related activities in surrounding countries and even in my own city.