Anna Maria Mendieta & Del Cielo Ensemble
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A Comparison of the Piano and Guitar Versions of Isaac Albéniz's Spanish Suite Op
A COMPARISON OF THE PIANO AND GUITAR VERSIONS OF ISAAC ALBÉNIZ'S SPANISH SUITE OP. 47 by YI-YIN CHIEN A LECTURE-DOCUMENT Presented to the School of Music and Dance of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Musical Arts November 2016 2 “A Comparison of the Piano and Guitar Versions of Isaac Albéniz’s Spanish Suite, Op. 47’’ a document prepared by Yi-Yin Chien in partial fulfillment of the requirements for the Doctor of Musical Arts degree in the School of Music and Dance. This document has been approved and accepted by: Jack Boss, Chair of the Examining Committee Date: November 20th, 2016 Committee in Charge: Dr. Jack Boss, Chair Dr. Juan Eduardo Wolf Dr. Dean Kramer Accepted by: Director of Graduate Studies, School of Music and Dance © 2016 Yi-Yin Chien 3 CURRICULUM VITAE NAME OF AUTHOR: Yi-Yin Chien PLACE OF BIRTH: Taiwan DATE OF BIRTH: November 02, 1986 GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, School of Music and Dance Peabody Institute of the Johns Hopkins University Tainan National University of Arts DEGREES AWARDED: Doctor of Musical Arts, 2016, University of Oregon Master of Music, 2011, Peabody Institute of the Johns Hopkins University Bachelor of Music, 2009, Tainan National University of Arts AREAS OF SPECIAL INTEREST: Piano Pedagogy Music Theory PROFESSIONAL EXPERIENCE: College Piano Teaching, University of Oregon, School of Music and Dance, 09/2014 - 06/2015 Taught piano lessons for music major and non-major college students Graduate Teaching -
Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla
The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-2008 Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective Alejandro Marcelo Drago University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Composition Commons, Latin American Languages and Societies Commons, Musicology Commons, and the Music Performance Commons Recommended Citation Drago, Alejandro Marcelo, "Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective" (2008). Dissertations. 1107. https://aquila.usm.edu/dissertations/1107 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago A Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved: May 2008 COPYRIGHT BY ALEJANDRO MARCELO DRAGO 2008 The University of Southern Mississippi INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago Abstract of a Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts May 2008 ABSTRACT INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. -
Samba, Rumba, Cha-Cha, Salsa, Merengue, Cumbia, Flamenco, Tango, Bolero
SAMBA, RUMBA, CHA-CHA, SALSA, MERENGUE, CUMBIA, FLAMENCO, TANGO, BOLERO PROMOTIONAL MATERIAL DAVID GIARDINA Guitarist / Manager 860.568.1172 [email protected] www.gozaband.com ABOUT GOZA We are pleased to present to you GOZA - an engaging Latin/Latin Jazz musical ensemble comprised of Connecticut’s most seasoned and versatile musicians. GOZA (Spanish for Joy) performs exciting music and dance rhythms from Latin America, Brazil and Spain with guitar, violin, horns, Latin percussion and beautiful, romantic vocals. Goza rhythms include: samba, rumba cha-cha, salsa, cumbia, flamenco, tango, and bolero and num- bers by Jobim, Tito Puente, Gipsy Kings, Buena Vista, Rollins and Dizzy. We also have many originals and arrangements of Beatles, Santana, Stevie Wonder, Van Morrison, Guns & Roses and Rodrigo y Gabriela. Click here for repertoire. Goza has performed multiple times at the Mohegan Sun Wolfden, Hartford Wadsworth Atheneum, Elizabeth Park in West Hartford, River Camelot Cruises, festivals, colleges, libraries and clubs throughout New England. They are listed with many top agencies including James Daniels, Soloman, East West, Landerman, Pyramid, Cutting Edge and have played hundreds of weddings and similar functions. Regular performances in the Hartford area include venues such as: Casona, Chango Rosa, La Tavola Ristorante, Arthur Murray Dance Studio and Elizabeth Park. For more information about GOZA and for our performance schedule, please visit our website at www.gozaband.com or call David Giardina at 860.568-1172. We look forward -
7'Tie;T;E ~;&H ~ T,#T1tmftllsieotog
7'tie;T;e ~;&H ~ t,#t1tMftllSieotOg, UCLA VOLUME 3 1986 EDITORIAL BOARD Mark E. Forry Anne Rasmussen Daniel Atesh Sonneborn Jane Sugarman Elizabeth Tolbert The Pacific Review of Ethnomusicology is an annual publication of the UCLA Ethnomusicology Students Association and is funded in part by the UCLA Graduate Student Association. Single issues are available for $6.00 (individuals) or $8.00 (institutions). Please address correspondence to: Pacific Review of Ethnomusicology Department of Music Schoenberg Hall University of California Los Angeles, CA 90024 USA Standing orders and agencies receive a 20% discount. Subscribers residing outside the U.S.A., Canada, and Mexico, please add $2.00 per order. Orders are payable in US dollars. Copyright © 1986 by the Regents of the University of California VOLUME 3 1986 CONTENTS Articles Ethnomusicologists Vis-a-Vis the Fallacies of Contemporary Musical Life ........................................ Stephen Blum 1 Responses to Blum................. ....................................... 20 The Construction, Technique, and Image of the Central Javanese Rebab in Relation to its Role in the Gamelan ... ................... Colin Quigley 42 Research Models in Ethnomusicology Applied to the RadifPhenomenon in Iranian Classical Music........................ Hafez Modir 63 New Theory for Traditional Music in Banyumas, West Central Java ......... R. Anderson Sutton 79 An Ethnomusicological Index to The New Grove Dictionary of Music and Musicians, Part Two ............ Kenneth Culley 102 Review Irene V. Jackson. More Than Drumming: Essays on African and Afro-Latin American Music and Musicians ....................... Norman Weinstein 126 Briefly Noted Echology ..................................................................... 129 Contributors to this Issue From the Editors The third issue of the Pacific Review of Ethnomusicology continues the tradition of representing the diversity inherent in our field. -
Brochure Argentina Film Festival-Color
Wednesday 4th February Thursday 5th February Friday 6th February 4th of July / 4 de Julio Velocity Begets Oblivion / Rain / Lluvia 2007 / DVD / colour / 95 min La Velocidad Funda El Olvido 2008 / 35 mm / colour & B-W / 110 min Director: Pablo Young & Pablo 2006 / DVD / colour / 110 min Director: Paula Hernandez Rain has been intense for the last Zubizarreta Director: Marcelo Schapces three days in Buenos Aires. Alma and On Sunday July 4th. 1976, 24 year old guy, called Olmo, Roberto have not met yet. Immersed t h r e e p r i e s t s a n d t w o lives in a strange world in their own solitude, condemned to seminarists belonging to the beyond reality built by his helplessness and defencelessness at the mercy of the ARGENTINE FILM FESTIVAL pallottine congregation were father's mind; who classifies rain, they survive their own uncertainties, fears and absences. A few days ago, Alma left the man she lived with brutally murdered at Saint Patrick`s church. The military all kind of objects without any authorities developed the hypothesis of a terrorist attack. for nine years. Roberto has come back to the country after 2nd to 6th February, 2009. Mumbai clear sense. But the distant presence of Olmo's mother almost thirty years abroad. Here he has nothing, just a But evidences revealed the involvement of a paramilitary brings and amazing “turn of the screw” to Olmos's life. father in a coma, with whom he has no relationship, and an Venue: Y.B.Chavan Centre group linked to the de facto government. -
The Linguistic Experience of Italians in Buenos Aires, Argentina, 1890-1914: Language Shift As Seen Through Social Spaces ______
THE LINGUISTIC EXPERIENCE OF ITALIANS IN BUENOS AIRES, ARGENTINA, 1890-1914: LANGUAGE SHIFT AS SEEN THROUGH SOCIAL SPACES ________________________________________________________________________ A Dissertation Submitted to the Temple University Graduate Board ________________________________________________________________________ in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ________________________________________________________________________ by Maria Italiano-McGreevy January 2013 Examining Committee Members: Augusto Lorenzino, Dissertation Advisor, Spanish and Portuguese Jonathan Holmquist, Examination Committee Chair, Spanish and Portuguese Paul Toth, Internal Reader, Spanish and Portuguese Gabriella Romani, External Reader, Italian Studies, Seton Hall University ! ABSTRACT From 1890-1914, Argentina received a large influx of Italian immigrants who wanted to “hacer la América”, or live the American dream of economic prosperity. With Italian immigrants representing nearly half of all immigrants entering Argentina, the government strived to create a new sense of Argentine pride and nationalism. The objective of this dissertation is to investigate and analyze the linguistic experience of Italian immigrants in Buenos Aires, Argentina, applying Pierre Bourdieu’s theory of social space and linguistic markets, and contact language theories to explain the attrition and shift of the Italian language. This study identifies three relevant social spaces that contributed to the linguistic experience of Italian immigrants in Buenos Aires: 1). conventillos or immigrant housing 2.) school community, and 3.) mutual aid societies. Within each social space thrived a linguistic market which language played a key role in the way people interacted and identified with each other. First, the conventillos were part of an alternative linguistic market in which cocoliche, a transitional language, thrived as a way for Italians to communicate with immigrants from different countries. -
Evolució De La Música Protesta a Catalunya (1960 – 2020)
Evolució de la música protesta a Catalunya (1960 – 2020) Treball de Final de Grau Ona Elena Bohórquez Tutor: Carles Viñas i Gràcia Grau d’Història 2019 – 2020 Universitat de Barcelona Resum: És la música un mitjà de la societat per mostrar el seu malestar amb el sistema? Són les i els artistes una amenaça per l’hegemonia del poder? En aquest estat de la qüestió estudiarem, l’evolució de la música protesta a Catalunya, des del franquisme amb paper clau en l’antifranquisme fins a l’actualitat. Veurem com han esdevingut cants per la llibertat, vinculant-se a certs moviments polítics d’esquerres i llibertaris, la persecució i criminalització per part de l’estat espanyol i el paper que ha tingut la llengua i la identitat nacional a l’hora de formular aquest fenomen. Farem també una pinzellada a territoris, com Euskal Herria i Andalusia, on la música va estar al punt de mira i va contribuir a la construcció de la societat, finalment donarem veu a les dones d’aquesta escena. Paraules claus: Catalunya, cançó protesta, censura, repressió. Abstract: Is music a channel for the society to show its unease with the system? Are the artists a threat to the power? It is through these questions we will study the evolution of the protest song in Catalonia, since the fracoism, having a key role in its fight against the regime, up present day. We will see how some songs have became songs of freedom linked to leftists and libertarian political movements, also the persecution and criminalization executed by the Spanish state and the role of the language and the national identity had on drawing up from this phenomenon. -
Download Booklet
SOUNDS OF SPAIN & THE AMERICAS SOUNDS OF SPAIN & and seascapes of the Asturias region in THE AMERICAS northern Spain, the inspiration for the piece 1 Asturias (Leyenda), Op. 232, No. 1 Isaac Albéniz (1860-1909) [4.09] was almost definitely the music of Andalucia Transcribed by Xavier Turull Asturias (Leyenda) in the south of the country, and specifically Isaac Albéniz, transcribed by Xavier Turull that Romani/Moorish mixture of music we Suite Popular Española Manuel de Falla (1876-1946) 2 El Paño Moruno [2.22] call Flamenco. 3 Nana [3.08] Asturias, (originally titled Preludio) written in 4 Canción [9.41] the early 1890s is one of the best-loved and The opening section of the piece immediately 5 Polo [1.28] most recognisable guitar pieces of all time. evokes the Flamenco guitar with a rapidly 6 Asturiana [2.33] It was originally composed for piano however alternating pedal note and bass line melody, 7 Jota [3.07] and though transcribed by many guitarists the rhythm itself suggesting a Bulerias – a type of song from the Flamenco repertoire. 8 Canción de Cuna Para Dormir a un Negrito Xavier Montsalvatge (1912-2002) [2.46] (including Francisco Tárrega, who composed the from Cinco Canciones Negras Recuerdos de la Alhambra which also features The theme builds in intensity, punctuated by on this recording) it only arrived in its present vicious accented chords and building into a 9 Danse Espagnole, No.5 ‘Andaluza’ Enrique Granados (1867-1916) [4.11] form after the great Andres Segovia arranged complex double-stopped passage before it 0 Recuerdos de la Alhambra Francisco Tárrega (1852-1909) [3.56] it. -
Flamenco Jazz: an Analytical Study
City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 2016 Flamenco Jazz: an Analytical Study Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/306 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Journal of Jazz Studies vol. 11, no. 2, pp. 29-77 (2016) Flamenco Jazz: An Analytical Study Peter Manuel Since the 1990s, the hybrid genre of flamenco jazz has emerged as a dynamic and original entity in the realm of jazz, Spanish music, and the world music scene as a whole. Building on inherent compatibilities between jazz and flamenco, a generation of versatile Spanish musicians has synthesized the two genres in a wide variety of forms, creating in the process a coherent new idiom that can be regarded as a sort of mainstream flamenco jazz style. A few of these performers, such as pianist Chano Domínguez and wind player Jorge Pardo, have achieved international acclaim and become luminaries on the Euro-jazz scene. Indeed, flamenco jazz has become something of a minor bandwagon in some circles, with that label often being adopted, with or without rigor, as a commercial rubric to promote various sorts of productions (while conversely, some of the genre’s top performers are indifferent to the label 1). Meanwhile, however, as increasing numbers of gifted performers enter the field and cultivate genuine and substantial syntheses of flamenco and jazz, the new genre has come to merit scholarly attention for its inherent vitality, richness, and significance in the broader jazz world. -
Bulletin February 2017 Welcome Letter by Our CEO
1st Edition Bulletin February 2017 Welcome Letter by our CEO Dear friends, Content: On July 4th 2013, when Buenos Aires was elected in Lausanne as the host city • Welcome letter by our CEO of the 3rd Summer Youth Olympic Games, the BAYOGOC team embraced • Introducing the Head of NOC with passion and pride the commitment that delivering this event presented Services for our city and country. • About Argentina and Buenos Aires From that moment on, we have been working hard in order to inspire youth in Argentina and the world while spreading the Olympic Values of • Buenos Aires 2018 emblem Excellence, Friendship and Respect and generating actions which encourage • Sport Qualification Systems & their participation in sport and cultural activities. We seek to empower new sports and engage young people in this wonderful project while bringing sports, • Buenos Aires 2018 Celebration culture and education to them. Moreover, we have seen the potential that the Youth Olympic Games have to act as a catalyst for social and urban • YOG reach change and development. • Introducing the Youth Olympic Village We are pleased to host the frst Youth Olympic Games in South America • 3rd visit of the IOC Coordination but furthermore, in less than two years Buenos Aires will host the most Commission signifcant and impactful cultural, educational and multisport event in the history of Argentina. This will mark the beginning of a new sports era in our • Buenos Aires 2018 social media country. We will deliver an edition of the YOG which will inspire athletes of channels Argentina and the world and will bring excitement, unity and spirit to both • NOC contact form + official young people and adults. -
Graffiti As a Popular Tool for Democratization in Argentina
Anne Buckley 1 SELF-EXPRESSION IN SPRAY PAINT: GRAFFITI AS A POPULAR TOOL FOR DEMOCRATIZATION IN ARGENTINA By: Anne Buckley Department of International Affairs, University of Colorado at Boulder A thesis submitted in partial fulfillment of the requirements for graduation with GENERAL HONORS April 9, 2014 Primary Thesis Advisor Gregory Young, Department of Political Science Committee Members Nina Molinaro, Department of Spanish, Honors Program Donna Goldstein, Department of Anthropology Anne Buckley 2 Abstract This thesis will argue that graffiti and street art increase the democratic self-expression values that Christian Welzel’s (2008) democratization theory argues are integral to the process of democratization. In countries where a repressive authoritarian regime allows little room for the population to express themselves, graffiti and street art offer a venue for the voicing of self- expression values, which lead to an increase in democratic values and culture. Growth in a society’s self-expression values, facilitated by the creation or exposure to graffiti, leads to mass pro-democratic attitudes. This thesis will use the case of Argentina’s democratic transition following the end of the “Dirty War,” when graffiti played a crucial role in the transition from a brutal authoritarian regime to democracy. Graffiti in Argentina has been integral during the transition to democracy, and this thesis will argue keeping the atrocities of the “Dirty War” in the public eye and collective memory through commemorative graffiti, street art, and demonstrations was extremely valuable to the initial success of the democratic transition. The importance of political graffiti and street art to the culture of Argentina cannot be debated as the streets of Buenos Aires are covered with colorful slogans, stencils and murals. -
Bambuco, Tango and Bolero: Music, Identity, and Class Struggles in Medell´In, Colombia, 1930–1953
BAMBUCO, TANGO AND BOLERO: MUSIC, IDENTITY, AND CLASS STRUGGLES IN MEDELL¶IN, COLOMBIA, 1930{1953 by Carolina Santamar¶³aDelgado B.S. in Music (harpsichord), Ponti¯cia Universidad Javeriana, 1997 M.A. in Ethnomusicology, University of Pittsburgh, 2002 Submitted to the Graduate Faculty of the Department of Music in partial ful¯llment of the requirements for the degree of Doctor of Philosophy in Ethnomusicology University of Pittsburgh 2006 BAMBUCO, TANGO AND BOLERO: MUSIC, IDENTITY, AND CLASS STRUGGLES IN MEDELL¶IN, COLOMBIA, 1930{1953 Carolina Santamar¶³aDelgado, PhD University of Pittsburgh, 2006 This dissertation explores the articulation of music, identity, and class struggles in the pro- duction, reception, and consumption of sound recordings of popular music in Colombia, 1930- 1953. I analyze practices of cultural consumption involving records in Medell¶³n,Colombia's second largest city and most important industrial center at the time. The study sheds light on some of the complex connections between two simultaneous historical processes during the mid-twentieth century, mass consumption and socio-political strife. Between 1930 and 1953, Colombian society experienced the rise of mass media and mass consumption as well as the outbreak of La Violencia, a turbulent period of social and political strife. Through an analysis of written material, especially the popular press, this work illustrates the use of aesthetic judgments to establish social di®erences in terms of ethnicity, social class, and gender. Another important aspect of the dissertation focuses on the adoption of music gen- res by di®erent groups, not only to demarcate di®erences at the local level, but as a means to inscribe these groups within larger imagined communities.