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University of Huddersfield Repository Quinones, Jessica Marie Constructing the authentic: approaching the ‘6 Tango-Etudes pour Flute Seula’ by Astor Piazzolla (1921–1992) for interpretation and performance Original Citation Quinones, Jessica Marie (2013) Constructing the authentic: approaching the ‘6 Tango-Etudes pour Flute Seula’ by Astor Piazzolla (1921–1992) for interpretation and performance. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/23457/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ 1 CONSTRUCTING THE AUTHENTIC: APPROACHING THE ‘6 TANGO-ETUDES POUR FLÛTE SEULE’ BY ASTOR PIAZZOLLA (1921–1992) FOR INTERPRETATION AND PERFORMANCE JESSICA QUIÑONES A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield September 2013 For all audio files related to the following University of Huddersfield PhD thesis: CONSTRUCTING THE AUTHENTIC: APPROACHING THE ‘6 TANGO-ETUDES POUR FLÛTE SEULE’ BY ASTOR PIAZZOLLA (1921–1992) FOR INTERPRETATION AND PERFORMANCE BY JESSICA QUIÑONES Please click on https://drive.google.com/#folders/0B3ExTtTC2zZUNVlsN3A1bDVWejg (Anyone with the above link can openly access them.) 2 Copyright Statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and s/he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. ii. Copies of this thesis, either in full or in extracts, may be made only in accordance with the regulations of the University Library. Details of these regulations may be obtained from the Librarian. This page must form part of any such copies made. iii. The ownership of any patents, designs, trademarks and any and all other intellectual property rights except for the Copyright (the “Intellectual Property Rights”) and any reproductions of copyright works, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property Rights and Reproductions cannot and must not be made available for use without the prior written permission of the owner(s) of the relevant Intellectual Property Rights and/or Reproductions. 3 Acknowledgements This work emerges from a love affair with Astor Piazzolla’s tango music. His distinctive style and endless quest for reinventing his art mirrors what I aspire to in my own creative ethos. Subsequently, it seems that this thesis was always in my foreground, for years tempting me to combine Piazzolla’s tango music with my love of both flute playing and the pursuit of new performance ideas. Yet with any journey towards new pursuits, the road towards fruition is always dotted with beautiful spirits who help to carry, support, and encourage the explorer at different stages of the walk. To these kind souls I wholeheartedly offer my gratitude: To the staff at the University of Huddersfield Music Department who funded this project from its conception to completion, and with much encouragement along the way. A special mention goes to Dr. Lisa Colton, Dr. Monty Adkins, and Dr. David Milsom, who despite their busy schedules allowed their office doors to be open for all kinds of brilliant conversations over the years. Particularly to my supervisor Dr. Philip Thomas – who despite being a man of Morton Feldman, Christian Wolff, and John Cage, opened himself to a new world of mugre, mufa and arrastres, always over a chocolate biscuit and his usual, straight-up, strong black Americano (!). He kept his sense of belief in the work when I sometimes lost mine, and with his gentle guidance, endless enthusiasm, and unwavering support, I could not have imagined a more wonderful person to be my supervisor. To Irene Cudich and Dr. Tim Rutherford Johnson, for their time, expertise and care in proofing the final draft under tight deadlines. Both are truly ‘behind the scenes’ academic champions. With special thanks to the tangueros over the decade who have given me not only the precious gift of friendship, but countless thoughts, interviews, performances, emails, lessons, and those invaluable scores – inside and outside of Buenos Aires: Paulina Fain, Exequiel Mantega, Ben Bogart, Kristin Wendland, Julie Taylor, Kacey Quin Link, Victoria Polti, Analia Trillo, Martin Kutnowski, Marcelo Costas, Yuiko Asaba, Jorge Strada, Sergio Gorostiaga, Alexander Graham Yooll, Gregory Nisnevich, and Santiago Argilla. 4 To those inspiring musical colleagues and students who gave me the platform on which to trial ideas, and offered me their own musical opinions, pedagogical tips, and technical expertise at various stages of this work: Pierre-André Valade, Fabio Franco, Dr. Abigail Dolan, Dr. Henry Stobart, Stephanie Jutt, Wissam Boustany, Laura Kaufmann, Andrew Yates, Emi Jarvi Carmichael, Stephanie Morrison, Anna Östberg, Pamela Endsley, Richard Blake, and Dr. Jack Sheinbaum. To my fellow duo partner, guitarist, and Brazilian implicante, Hans Michael Anselmo Hess, who through our many performances gave me complete freedom to ‘test’ my research in the form of much freedom and improvisation according to our similar ethos in not only alma, but also samba, bossa nova, chôro, maxixe, and, of course, Piazzolla’s tango. To the ladies of South County Wicklow who walked with me through those magical forests, and joined me for those infamous Tollhouse chocolate chip cookies (when times were both good and bad): Deirdre O’Connor, Emmaline Duffy-Fallon, Ana Sofia Ramos, Catherine Maguire and Maria Golpe Varela. For Bobby Dazzler, the skinny, stray black dog with a shiny fur coat that appeared off a country road one spring day while I was writing this thesis – and then stayed for good. I am grateful for his examples of authenticity, intuition, and enthusiasm about the little details in life – even if he still remains suspicious of the sound of a bandoneón (Piazzolla’s, or otherwise). To the invaluable support of my New Mexican family: to my grandfather and professor, Dr. Ferdinand Quiñones, from whom I receive my Puertorriqueña roots, and also wanderlust for undertaking research in new lands. Especially to my incredible parents Debi Partridge, Marguerite and Bill Quiñones – from my first flute note in Arizona, they still encourage my musical aspirations 25 years later. I am so blessed to have them. But most of all, to my Cumbrian warrior and best friend, the Sunshine of My Life, Phil T. Byrne. His spirited humour, song, 8am dance parties, tango lessons in Buenos Aires, endless cups of Irish tea (with the perfect amount of milk), software knowhow, unending encouragement, and unwavering strength lovingly accompanied me the entire way across those five countries to find our new life. To this I will forever be beholden. Jessica Marie Quiñones, September 2013 5 Table of Contents Copyright Statement ................................................................................................................ 2 Acknowledgements .................................................................................................................. 3 Word count (including footnotes, but excluding appendices): 96,175Abstract ................. 8 Abstract ..................................................................................................................................... 9 List of Figures ......................................................................................................................... 10 Thesis Structure .............................................................................................................................. 22 A Brief Musical Biography of Astor Piazzolla (1921–1992) ....................................................... 24 The Early Years ............................................................................................................................ 24 Tango Nuevo ................................................................................................................................ 28 The Final Years ............................................................................................................................ 31 Contextualising the 6 Tango-Etudes pour flûte seule ................................................................... 34 Background of the 6 Etudes ......................................................................................................... 35 Reception of the 6 Etudes ...............................................................................................................
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  • Elements of Argentine Tango a Resource Manual for Dancers

    Elements of Argentine Tango a Resource Manual for Dancers

    Elements of Argentine Tango A Resource Manual for Dancers http://abqtango.org 1 History of Argentine Tango by Mike Higgins When talking about the history of the Tango, the reader should consider that although there were many ‘influences’ in the creation and life of the Tango, it is very important not to assume that it was some form of linear development Whilst dances and music from around the world have had some influence, this rather detracts from the people who really created and evolved the Tango into its current form. These are the people of Buenos Aires, who in the bars, cafes and dance halls made the Tango, danced the Tango, lived, loved and occasionally died for the Tango. It is the voice of the streets of Buenos Aires. Any suggestion that they may be dancing some sort of second hand steps or regurgitating music taken from Europe or Africa must be rejected as some what insulting to all the great milongueros who have danced and innovated down though years. It is equally insulting to the great Tango maestros who have drawn on their own life experiences when composing music. Almost certainly, the most important factor in the evolution of the Tango was the influence brought in by the Habanera, created in Havana, Cuba, and also known as the Andalusian Tango. Unfortunately there is now insufficient information to assess exactly how this was originally danced. The Habanera was based on the concept of a ’walk’, the same as the Tango. At some point the Milonga and The Habanera were fused to form the embryonic version of the Tango.