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Territorios Del Tango En Buenos Aires: Aportes Para Una Historia De Sus Formas De Inscripción
Rev33-01 16/3/09 14:19 Página 49 Sofía Cecconi* ➲ Territorios del tango en Buenos Aires: aportes para una historia de sus formas de inscripción Resumen: Así como no se puede hablar de territorios urbanos sin remitirse en algún punto a las formas de vida de los grupos que los componen, tampoco se puede hablar con propiedad de expresiones musicales sin referirse tarde o temprano al ambiente en el que surgen y se desarrollan. Esto implica que una manifestación como la música, especial- mente cuando se la entiende como performance, es decir como actuación, puesta en esce- na y práctica, se encuentra enmarcada en coordenadas espacio-temporales precisas. De modo que la música se engarza y expresa tanto un tiempo histórico como una geografía determinada. Pocas ciudades existen con una identidad musical tan definida y ampliamente reconocida por propios y por ajenos como Buenos Aires. El tango es la música de un espacio defini- do, en el que se entrelazan tradiciones culturales y un espacio en transformación. Así como tango implica Buenos Aires, Buenos Aires implica tango. Pero tanto uno como la otra se modifican con el paso del tiempo y las grandes transformaciones sociales. Este trabajo se propone describir los territorios del tango a lo largo de su historia, mostrando las migraciones que realizó en la geografía de la ciudad, las resignificaciones que experi- mentó al quedar identificado con diversos actores sociales y las distintas apropiaciones de las que fue objeto. Palabras clave: Tango; Territorio; Buenos Aires; Argentina; Siglos XIX-XXI. Abstract: Urban territories are defined by a complex geography that includes not only the space and its features but also the styles, manners and ways of life of the social groups that take part of and compose it. -
KENNETH FUCHS Piano Concerto ‘Spiritualist’ Poems of Life • Glacier • Rush Jeffrey Biegel, Piano • Aryeh Nussbaum Cohen, Countertenor D
AMERICAN CLASSICS KENNETH FUCHS Piano Concerto ‘Spiritualist’ Poems of Life • Glacier • Rush Jeffrey Biegel, Piano • Aryeh Nussbaum Cohen, Countertenor D. J. Sparr, Electric guitar • Timothy McAllister, Alto saxophone London Symphony Orchestra • JoAnn Fal letta Kenneth Kenneth Fuchs (b. 1956) Piano Concerto ‘Spiritualist ’ • Poems of Life • Glacier • Rush FU(b. C195H6) S Helen Frankenthaler’s work has made a significant impact the instrument to make a Silent Wish and embraces a on my creative life. I was first introduced to it in 1983 by diatonic musical cryptogram including the pitches F–C– Piano Concerto ‘Spiritualist’ the PBS Television documentary “Helen Frankenthaler – H–S derived from my surname and the German letter Toward a New Climate.” Through absorbing her free names for two pitches: H for B natural and S for E flat. (After Three Paintings by Helen Frankenthaler) (2016) 21:45 1 creative aesthetic and my personal encounters with her, I The orchestra quietly ruminates on these pitches as the 2 I. Spiritualist: Allegro con spirito 6:28 began to find my own creative path and surmount the piano intones one last fragment of the gymnopédie and II. Silent Wish: Lento – Allegro agitato – Adagio flessibile – doctrinaire rhetoric of avant-garde musical composition brings the movement to quiet repose. The third 3 Allegro agitato – Adagio mesto 9:40 that prevailed at the time. My Piano Concerto is the fourth movement, Natural Answer , in modified rondo form, is III. Natural Answer: Allegro deciso 5:29 work I have composed inspired by Frankenthaler’s visual energetic and optimistic, combining previous mottos and images. I had been captivated for several years by the themes and interpolates jazzy syncopated rhythms. -
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. -
La Cumparsita Carlos Di Sarli Orchestral Tango Argentine Tango Is a Musical Genre of Simple Quadruple Metre and Binary Musical
La Cumparsita Carlos Di Sarli Orchestral Tango Argentine tango is a musical genre of simple quadruple metre and binary musical form, and the social dance that accompanies it. Its lyrics and music are marked by nostalgia, expressed through melodic instruments including the bandoneón. Originated at the ending of the 19th century in the suburbs of Buenos Aires, it quickly grew in popularity and spread internationally. Among its leading figures are the singer and songwriter Carlos Gardel and composers/performers Francisco Canaro, Juan D'Arienzo, Osvaldo Pugliese, and Ástor Piazzolla. Argentine tango music is much more varied than ballroom tango music. A large amount of tango music has been composed by a variety of different orchestras over the last century. Not only is there a large volume of music, there is a breadth of stylistic differences between these orchestras as well, which makes it easier for Argentine tango dancers to spend the whole night dancing only Argentine tango. The four representative schools of the Argentine tango music are Di Sarli, d'Arienzo, Troilo and Pugliese, all four descendent from Italian immigrant families. They are dance orchestras, playing music for dancing. When the spirit of the music is characterized by counterpoint marking, clarity in the articulation is needed. It has a clear, repetitive pulse or beat, a strong tango-rhythm which is based on the 2x4, 2 strong beats on 4 (dos por cuatro). Ástor Piazzolla stretched the classical harmony and counterpoint and moved the tango from the dance floor to the concert stage. His compositions tell us something of our contemporary life and dancing it relates much to modern dance. -
El Tango Y La Cultura Popular En La Reciente Narrativa Argentina
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2018 El tango y la cultura popular en la reciente narrativa argentina Monica A. Agrest The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2680 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] EL TANGO Y LA CULTURA POPULAR EN LA RECIENTE NARRATIVA ARGENTINA by Mónica Adriana Agrest A dissertation submitted to the Graduate Faculty in Latin American, Iberian and Latino Cultures in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2018 © 2018 MÓNICA ADRIANA AGREST All Rights Reserved ii EL TANGO Y LA CULTURA POPULAR EN LA RECIENTE NARRATIVA ARGENTINA by Mónica Adriana Agrest This manuscript has been read and accepted for the Graduate Faculty in Latin American, Iberian and Latino Cultures in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ______________________________ ________________________________________ November 16th, 2017 Malva E. Filer Chair of Examining Committee ________________________________________ ________________________________________ November 16th, 2017 Fernando DeGiovanni Executive Officer Supervisory Committee: Silvia Dapía Nora Glickman Margaret E. Crahan THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT EL TANGO Y LA CULTURA POPULAR EN LA RECIENTE NARRATIVA ARGENTINA by Mónica Adriana Agrest Advisor: Malva E. Filer The aim of this doctoral thesis is to show that Tango as scenario, background, atmosphere or lending its stanzas and language, helps determine the tone and even the sentiment of disappointment and nostalgia, which are in much of Argentine recent narrative. -
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. -
573567 Bk Fuchs US
WIND BAND CLASSICS KENNETH FUCHS Point of Tranquility Christina’s World • Rush • Forever Free Greg Case, Alto Saxophone United States Coast Guard Band • Adam Williamson Kenneth F(Ub. C19H56)S Point of Tranquility 1 Discover the Wild (Overture for Band) 4:49 2 Point of Tranquility (Idyll for Band After a Painting by Morris Louis) 10:19 3 From the Field to the Sky 5:05 (Celebration Fanfare for Brass and Percussion) 4 Rush (Concerto for Alto Saxophone and Band) 14:59 5 I. Evening: (Cadenza – Adagietto) 7:28 II. Morning: (Cadenza – Allegro) 7:31 Greg Case, Alto Saxophone Jeffrey Renshaw, Guest Conductor 6 United Artists (Fanfare-Overture for Band) 5:40 7 Christina’s World (Idyll for Band After a Painting by Andrew Wyeth) 13:46 8 Forever Free (Fanfare-Overture for Band) 4:26 Recorded at Leamy Hall, United States Coast Guard Academy, New London, Connecticut, USA, June 2013 to November 2018 Producer and engineer: Ian Dobie Publisher: all compositions copyright © Piedmont Music Company (ASCAP); Edward B. Marks Music Company, sole selling agent; www.ebmarks.com Booklet notes: Kenneth Fuchs Cover: Beyond the Blue Horizon, 2018, acrylic on canvas, 46 in. x 64 in. © 2018 Preston Trombly (private collection) 2 8.573567 Kenneth Fuchs (b. 1956) Discover the Wild • Point of Tranquility • From the Field to the Sky Rush • United Artists • Christina’s World • Forever Free My first exposure to musical composition was through is then intoned by other woodwind and brass instruments. band music, starting when my high school band director, The development section unfolds with a series of episodic Bentley Shellahamer, encouraged me to compose original variations combining the harmonic, melodic, and rhythmic music for band. -
Buenos Aires Hora Cero Electrónico: Un Acercamiento a La Relación Entre La Música De Astor Piazzolla Y El Tango Electrónico Lautaro Díaz Geromet
Buenos Aires Hora Cero Electrónico: un acercamiento a la relación entre la música de Astor Piazzolla y el tango electrónico Lautaro Díaz Geromet Esa ráfaga, el tango, esa diablura, los atareados años desafía; hecho de polvo y tiempo, el hombre dura menos que la liviana melodía, que sólo es tiempo. El tango crea un turbio pasado irreal que de algún modo es cierto, un recuerdo imposible de haber muerto peleando, en una esquina del suburbio. ~Jorge Luis Borges, El tango. A partir del análisis del tema Buenos Aires Hora Cero, el presente trabajo se propone ilustrar de qué manera el tango electrónico reinterpreta la música de Ástor Piazzolla. Para poder describir el proceso, tomamos como referencia la primera grabación que Piazzolla hizo del tema y la comparamos con dos versiones de “tango electrónico”: la que se encuentra incluida en el disco The Tango Chill Out Experience (2004)1 y la versión del disco Madrugada en Backcelonia2 (2005), grabado por el grupo San Telmo Lounge3. I The Tango Chill Out Experience. Compilación de versiones de temas de Piazzolla. 2004. Datos sin consignar. 2 Madrugada en Backcelonia San Telmo Lounge. 2004. EPSA Music. 3 San Telmo Lounge es un grupo que se conforma a fines del año 2001, a partir de la iniciativa del compositor y guitarrista Martín Delgado, con la premisa de experimentar en la fusión de la música electrónica, el tango y el jazz. revista del instituto superior de música 13 El “Tango Electrónico” o “Electrotango” es el resultado de la fusión de la música electrónica4 con el tango tradicional. -
1718Studyguidemaria.Pdf
MARIA DE BUENOS AIRES A little tango opera in two parts for orchestra, narrator, and singers Texts by Horacio Ferrer | Music by Ástor Piazzolla Premiere May 8, 1968, Sala Planeta, Buenos Aires NOVEMBER 10, 11, 12, 2O17 The Noah Liff Opera Center Judy & Joe Barker | Jessica & Zach Liff Co-sponsors Directed by John Hoomes Conducted by Dean Williamson Featuring the Nashville Opera Orchestra CAST Maria Cassandra Velesco* El Payador Luis Alejandro Orozco* El Duende Luis Ledesma* Tango Axis Mariela Barufaldi* Jeremías Massera* The Girl Zazou France Gray* Sofia Viglianco* * Nashville Opera debut † Former Mary Ragland Young Artist TICKETS & INFORMATION Contact Nashville Opera at 615.832.5242 or visit nashvilleopera.org. Study Guide Contributors Anna Young, Education Director Cara Schneider, Creative Director THE JUDY & NOAH SUE & EARL LIFF FOUNDATION SWENSSON THE STORY Ástor Piazzolla’s tango opera, Maria de Buenos Aires, premiered on May 8, 1968, in Sala Planeta, Buenos Aires. The seductive quality of nuevo tango and the bandoneon play such an important role, they embody a central character in the story. Some say that the opera is a metaphor for tango and the city of Buenos Aires, with Maria herself being the personification of the tango. The surrealist plot is conveyed with the words of a narrator character and poet, El Payador, and his antithesis El Duende, an Argentinian goblin-spirit from South American mythology whose powers cause the loss of innocence. The opera, separated into two parts, first tells the story of the young Maria, her struggles on earth, and ultimate demise. The libretto states she “was born on the day God was drunk.” In the second part of the opera, we explore her existence as “Shadow Maria,” experiencing the dark underworld of Buenos Aires. -
A Performer's Guide to Astor Piazzolla's <I>Tango-Études Pour Flûte Seule</I>: an Analytical Approach
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2018 A Performer’s Guide to Astor Piazzolla's Tango-Études pour flûte seule: An Analytical Approach Asis Reyes The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2509 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] A PERFORMER’S GUIDE TO ASTOR PIAZZOLLA'S TANGO-ÉTUDES POUR FLÛTE SEULE: AN ANALYTICAL APPROACH by ASIS A. REYES A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2018 © 2018 ASIS REYES All Rights Reserved ii A Performer’s Guide to Astor Piazzolla's Tango-Études pour flûte seule: An Analytical Approach by Asis A. Reyes This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts Date Professor Peter Manuel Chair of Examining Committee Date Professor Norman Carey Executive Officer Supervisory Committee: Antoni Pizà, Advisor Thomas McKinley, First Reader Tania Leon, Reader THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT A Performer’s Guide to Astor Piazzolla's Tango-Études pour flûte seule: An Analytical Approach by Asis A. Reyes Advisor: Antoni Pizà Abstract/Description This dissertation aims to give performers deeper insight into the style of the Tango- Études pour flûte seule and tango music in general as they seek to learn and apply tango performance conventions to the Tango-Études and other tango works. -
RENTAL CATALOG C - E.B
About Us Keiser Music Publishing - Lauren Lauren Keiser Music Publishing © LKMP 2012 Veteran music publisher Lauren Keiser started Lauren Keiser Music Publishing (ASCAP) and Keiser Classical (BMI) from the purchase of MMB Music's assets of St. Louis in 2008, strengthening it with new deals free downloads and editions. His almost forty years of being involved with Alfred, Cherry Lane, and Carl Fischer, the latter two where he served as CEO/ Download scores and audio President, provided a foundation for a new music publishing company samples selected from our based on his experience. In 2012, he acquired the 75 year old music catalog. As we continue to add publisher Southern Music, adding this established firm to the new more works, we strive to create company. In addition to his publishing industry experience, he is a an increasingly valuable resource successful composer whose works have been performed at home and for your programming needs. abroad. The firm publishes and administers performance and music Whether you’re looking for copyrights of gifted composers, in addition to producing publications of chamber, orchestra, wind talented musicians, writers and artists. ensemble, or opera music, we invite you to visit frequently and Southern Music Company offer feedback on your experience. Keiser Classical - Southern Musi Since its founding in 1937 in San Antonio, Texas, Southern Music has served students, private teachers, musicians, music educators and music keisersouthernmusic.com stores around the globe with music of all types. The publications catalog includes over 5,000 titles for band, choir, orchestra and for all individual instruments for use by students from beginning to advanced levels. -
Interaction Between Tango and Jazz Music
Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 8-2019 The Boundaries of Modern Jazz Composition: Interaction between Tango and Jazz Music Evgeniya Kozhevnikova Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the Composition Commons Recommended Citation Kozhevnikova, Evgeniya, "The Boundaries of Modern Jazz Composition: Interaction between Tango and Jazz Music" (2019). Master's Theses. 4727. https://scholarworks.wmich.edu/masters_theses/4727 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. THE BOUNDARIES OF MODERN JAZZ COMPOSITION: INTERACTION BETWEEN TANGO AND JAZZ MUSIC by Evgeniya Kozhevnikova A thesis submitted to the Graduate College in partial fulfillment of the requirements for the degree Master of Music Western Michigan University August 2019 Thesis Committee: Dr. Andrew Rathbun, Chair Prof. Matthew Fries Prof. Michael Duffy IV Copyright by Evgeniya Kozhevnikova 2019 THE BOUNDARIES OF MODERN JAZZ COMPOSITION: INTERACTION BETWEEN TANGO AND JAZZ MUSIC Evgeniya Kozhevnikova, M.M. Western Michigan University, 2019 The history of jazz music is not very long in comparison to the history of music in general – from the end of the 19th century until present. This period, however, is very dense in terms of musical influences and became especially denser recently because of globalization. Several researchers explored the jazz influences in the music of Astor Piazzolla, whom renovated traditional tango. While Piazzolla is considered a tango composer, some jazz bands use Piazzolla’s music as jazz standards and create compositions with traditional elements of jazz, such as improvisation.