CRONOLOGIA Piazzolla
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Del 26-2 Al 4-3.Qxp
Del 26 de febrero al 4 de marzo de 2009 VERANO 09 En el último fin de semana de “Aires CUATRO GRANDES Buenos Aires. Cultura para Respirar”, la Ciudad propone para este sábado cuatro grandes recitales gratuitos: La MOMENTOS Portuaria en Costanera Sur, Jairo cantando a Horacio Ferrer en Mataderos; Café de los Maestros, en el Planetario, y el enorme cantaor Enrique Morente en Avenida de Mayo y Perú. PÁGINAS 4, 5, 6 Y 7. sumario. Fin de fiesta [pág. 3] El cantaor granadino [pág.4] Jairo canta a Ferrer CulturaBA está AÑO 6 disponible en [pág. 5] Veinte años no es poco [pág. 6] Música, maestros / Cómo arruinar su vida y/o www.buenosaires.gov.ar, Nº 346 clickeando en “Cultura”. Revista de distribución gratuita la de los demás - El humor de Santiago Varela [pág. 7] El humor de Rep / ¿Cómo llego? del Gobierno de la Ciudad Desde allí también de Buenos Aires [pág. 8] Además: agenda de actividades, del 26 de febrero al 4 de marzo de 2009. puede imprimirse. LA ÚLTIMA MILONGA AL AIRE LIBRE Orquesta Académica del Teatro Colón. Audiciones para cubrir vacan- Música sin límites. La Dirección General de Música del Ministerio de tes en sus filas para el curso de Práctica Orquestal 2009. Director Titu- Cultura de la Ciudad organiza las siguientes actividades. lar maestro Carlos calleja. Las pruebas se realizarán hasta mañana. Una CINE Y MÚSICA EN LAS VENAS. Estudio Urbano invita a disfrutar películas vez finalizada la inscripción, la Orquesta Académica del Teatro Colón donde el ingrediente musical es el principal protagonista y que tienen, además, enviará información del horario y lugar de cada prueba por correo elec- la virtud de ser cinematográficamente bellas. -
Uhm Phd 9205877 R.Pdf
· INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewri~er face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikeiy event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact liMI directly to order. U-M-I University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, M148106-1346 USA 313/761-4700 800/521-0600 Order Number 9205811 Political economy of passion: Tango, exoticism, and decolonization Savigliano, Marta Elena, Ph.D. University of Hawaii, 1991 Copyright @1991 by Savigliano, Marta Elena. -
To Subscribe, Click Here — 2 —
— 1 — TO SUBSCRIBE, CLICK HERE — 2 — TO SUBSCRIBE, CLICK HERE Modern18 Tango World Athens Special Edition Editor Thanos Kasadis Table of Contents Greece Special Features Tango Acropilis Elena Gossi & Mestre Luis ............................................................ 03 An Argentine in Athens Fabian Ballejosi ......................................................... 06 Teaching Tango in Athens Theodore Georgedakis ....................................... 08 Guide to Tango in Greece ..................................................................................... 10 Maestro Fileteador Jorge Muscia ........................................................................... 18 Interview with Anibal Berraute (Tango Fusion) Marco Buso ..................... 22 Tango Sweat in Havana Urszula Przezdzik Abolik ............................................. 25 Tango Improvisation Jean-Pierre Sighe .............................................................................29 Un Tango Mas of German Kral Alexandru Eugen Cristea ............................. 32 The Tango Poetry & Literature of Rome Mario Abbatia ................................. 34 Our Advertisers ................................................................................................................. 37 New Tango Music Arndt Büssing ............................................................................... 38 Tango Moves: Parada (Sop) Raymond Lauzzana ................................................. 44 Letters to the Editor ...................................................................................................... -
Festejan Los 94 Años Del Gran Pianista Y Compositor Atilio Stampone - Télam - Agencia Nacional De Noticias
29/6/2020 Festejan los 94 años del gran pianista y compositor Atilio Stampone - Télam - Agencia Nacional de Noticias ESPECTÁCULOS 28/06/2020 CUMPLEAÑOS Festejan los 94 años del gran pianista y compositor Atilio Stampone Será el próximo 1° de julio y para celebrarlo la Dirección Nacional de Organismos Estables realizó un video que puede verse en YouTube, donde sus colegas, compañeras y compañeros de la Orquesta Nacional de Música Argentina hacen un repaso sobre su trayectoria. https://www.telam.com.ar/notas/202006/482802-festejan-los-94-anos-del-gran-pianista-y-compositor-atilio-stampone.html 1/6 29/6/2020 Festejan los 94 años del gran pianista y compositor Atilio Stampone - Télam - Agencia Nacional de Noticias El pianista, compositor y director Atilio Stampone cumplirá 94 años el próximo 1° de julio y para celebrarlo la Dirección Nacional de Organismos Estables realizó un video que puede verse en YouTube, donde sus colegas, compañeras y compañeros de la Orquesta Nacional de Música Argentina hacen un repaso sobre su trayectoria. El audiovisual -https://youtu.be/cgBfPV0BS8o- hace eje en sus aportes a la música argentina y especialmente al tango, además de su trabajo como director de la mencionada orquesta y “su gran calidez como ser humano”, describió un comunicado de prensa. Atilio comenzó estudiando piano en su barrio, San Cristóbal. Más tarde, Carlos García lo llevó a su maestro, quien también lo era de Salgán, el profesor Pedro Rubione. https://www.telam.com.ar/notas/202006/482802-festejan-los-94-anos-del-gran-pianista-y-compositor-atilio-stampone.html 2/6 29/6/2020 Festejan los 94 años del gran pianista y compositor Atilio Stampone - Télam - Agencia Nacional de Noticias Formado en la música clásica, como pianista y arreglador, tuvo la inÙuencia de sus contemporáneos Horacio Salgán y, fundamentalmente, de Astor Piazzolla, con quien actuó como pianista en la orquesta de 1946. -
The Intimate Connection of Rural and Urban Music in Argentina at the Beginning of the Twentieth Century
Swarthmore College Works Spanish Faculty Works Spanish 2018 Another Look At The History Of Tango: The Intimate Connection Of Rural And Urban Music In Argentina At The Beginning Of The Twentieth Century Julia Chindemi Vila Swarthmore College, [email protected] P. Vila Follow this and additional works at: https://works.swarthmore.edu/fac-spanish Part of the Spanish and Portuguese Language and Literature Commons Recommended Citation Julia Chindemi Vila and P. Vila. (2018). "Another Look At The History Of Tango: The Intimate Connection Of Rural And Urban Music In Argentina At The Beginning Of The Twentieth Century". Sound, Image, And National Imaginary In The Construction Of Latin/o American Identities. 39-90. https://works.swarthmore.edu/fac-spanish/119 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in Spanish Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. Chapter 2 Another Look at the History of Tango The Intimate Connection of Rural ·and Urban Music in Argentina at the Beginning of the Twentieth Century Julia Chindemi and Pablo Vila Since the late nineteenth century, popular music has actively participated in the formation of different identities in Argentine society, becoming a very relevant discourse in the production, not only of significant subjectivities, but also of emotional and affective agencies. In the imaginary of the majority of Argentines, the tango is identified as "music of the city," fundame ntally linked to the city of Buenos Aires and its neighborhoods. In this imaginary, the music of the capital of the country is distinguished from the music of the provinces (including the province of Buenos Aires), which has been called campera, musica criolla, native, folk music, etc. -
Tango BA at the Usina 12
@horaciorlarreta Del 8 al 21 de agosto, el tango brilla al máximo en la Ciudad: dis- frutemos de los mejores artistas en una nueva edición del Tango BA Festival y Mundial. ¡No se lo pierdan! From August 8 to 21, tango shines at its brightest over the City: let’s enjoy some of the finest artists in a new edition of Tango BA Festival and Dance World Cup. Don’t miss it! @eavogadro #TangoBA es un festival muy importante para la cultura de la Ciudad y el mundo entero. Este año se renueva para contagiar a nuevos pú- blicos, sale a la calle y se acerca a más barrios, espacios y personas que quieran animarse a ser parte de esta celebración. #TangoBA is a major cultural event for the City and entire world. This year, the Festival revamps to attract new audiences, goes out into the streets and reaches out to more neighbourhoods, spaces and people who would like to take part in this celebration. @FestivalesGCBA ¡Vení a disfrutar de #TangoBA, el encuentro tanguero más grande del mundo! No te pierdas a los mejores artistas del género y la compe- tencia internacional más importante de esta danza. Come and enjoy #TangoBA, the world’s biggest tango event! Find the best artists of the genre and witness the most important international tango dance competition. Gabriel Soria Director Artístico / Artistic Director Llega una nueva edición del Festival para mostrar el panorama del tango con su diversidad, evolución y cruces generacionales. La crea- ción artística en movimiento lo renueva permanentemente y propone lenguajes distintos en la poesía, la música, el canto y la danza. -
Sitios De Interés Cultural De La Ciudad De Buenos Aires (1994-2003)
Sitios de Interés Cultural de la Ciudad de Buenos Aires (1994-2003) Buenos Aires Places of Cultural Interest Leticia Maronese Sitios de Interés Cultural de la Ciudad de Buenos Aires Buenos Aires Places of Cultural Interest Textos e investigación: Leticia Maronese La Botica del Angel ____________________________________________________ 138 La Fábrica, Ciudad Cultural ______________________________________________ 152 Revisión: José María Peña La Perla del Once ______________________________________________________ 18 La Puerto Rico ________________________________________________________ 98 Traducción y corrección: Eduardo Hernández Liberarte _____________________________________________________________ 86 Librería del Colegio ____________________________________________________ 116 Fotografía: Darío Calderón (excepto las indicadas *) Local de “Sr. Tango” ___________________________________________________ 146 “Lo de Hansen” _______________________________________________________ 20 Diseño gráfico: Débora Kapustiansky Mercado del Progreso __________________________________________________ 156 Museo Conventillo - Galería de Arte _______________________________________ 200 Cartografía: Dirección General de Sistemas de Información Geográfica. GCABA Museo Criollo de los Corrales ____________________________________________ 170 Museo de Arte Precolombino ____________________________________________ 194 Museo de la Caricatura Severo Vaccaro _____________________________________ 196 Museo del Automóvil __________________________________________________ -
Copyright by Michael Seamus O'brien 2010
Copyright by Michael Seamus O’Brien 2010 The Dissertation Committee for Michael Seamus O’Brien certifies that this is the approved version of the following dissertation: Disciplining the Popular: New Institutions for Argentine Music Education as Cultural Systems Committee: _______________________________ Robin Moore, Supervisor _______________________________ Veit Erlmann _______________________________ Stephen Slawek _______________________________ Ward Keeler _______________________________ Eugenia Costa-Giomi Disciplining the Popular: New Institutions for Argentine Music Education as Cultural Systems by Michael Seamus O’Brien, B.A. B.M. M.M. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2010 For Julia Acknowledgements This dissertation is based on field research that was supported by a William S. Livingston Fellowship from the University of Texas at Austin, and also informed by previous fieldwork supported by a Tinker Foundation Grant. I am additionally grateful to the ethnomusicology department at the University of Texas for providing me with the assistant instructor position that funded part of my writing period. My dissertation committee, Professors Veit Erlmann, Stephen Slawek, Ward Keeler, Eugenia Costa-Giomi, and particularly my advisor Robin Moore have all provided steadfast support and guidance through this process. I also remain grateful to have had the opportunity to study with the late Gerard Béhague. I regret that he did not live to see my graduate career to completion. His steadfast devotion to scholarship and to his students, and his indomitable spirit remain models for me. In Argentina, Dr. -
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. -
Conociendo a Fondo a Horacio Ferrer
Conociendo a fondo a Horacio Ferrer ¿Quién es Horacio Ferrer? Dentro de los famosos que viven en Recoleta, el poeta Horacio Ferrer es realmente un vecino ilustre, que vive en el Hotel Alvear, uno de los 20 hoteles más importantes del mundo. Horacio Ferrer nació en Montevideo el 2 de junio de 1933. Hijo de padre uruguayo y madre argentina, que se conocieron en un veraneo montevideano (así lo dijo Ferrer). Se quedaron a vivir en Montevideo y cuando Horacio tenía un mes, cruzaron el río en el Vapor de la Carrera, y vinieron a Buenos Aires para mostrarle su familia argentina. Desde muy pequeño ha estado conectado con la cultura y el arte y a corta edad, ya escribía versos, obras para títeres y algo después, milongas que cantaba acompañándose con guitarra. Un tío materno le enseñó a sacar tangos "de oído" y también fue el encargado de hacerle conocer la noche porteña. Sus primeros tangos surgieron a comienzos de los '50. En 1954 fue el fundador del Club de la Guardia Nueva, a partir del cual conoció a Troilo y a Piazzolla. Tras abandonar sus estudios de arquitectura ingresó como redactor a los suplementos del matutino montevideano "El Día", y por pedido de Troilo escribió La última grela. En 1967 graba los poemas de su "Romancero canyengue" para el sello argentino independiente Trova, acompañado por la guitarra de Agustín Carlevaro. Ese disco provoca que Piazzolla lo invite a escribir juntos, lo que harán intensamente hasta 1973. Así surge, como primer gran fruto, la operita "María de Buenos Aires", que en 1968 estrenan, en la sala Planeta, de Buenos Aires, Piazzolla con su orquesta de diez músicos, las voces de Héctor de Rosas y Amelita Baltar, y el propio Ferrer como recitante en el papel de El Duende. -
M O N T E V E R
MONTEVERDI Music is the servant of the words 2012 LET US INNOVATE by Simone Kotva FROM IMITATION OF NATURE MONTEVERDI’S REVERSAL TO NATURAL IMITATION At the turn of the sixteenth century, the cusp of Monteverdi christened his musical aesthetics the We should see what are the rhythms of a self- The sentence immediately preceding Plato’s antici - what historians have since called “the modern era,” seconda prattica , or Second Practice. Its purpose disciplined and courageous life, and after looking at pation of Monteverdi’s motto is a discussion of the Claudio Monteverdi poses the perennial question was to oppose the establishment, what he called those, make meter and melody conform to the leitmotif of Classical philosophy, namely the “self- of every artist: how do my compositions relate to the First Practice of music theory. Monteverdi speech of someone like that. We won’t make disciplined and courageous life,” or human nature. those of past masters? How does innovation characterised the First Practice (whether justly or speech conform to rhythm and melody . Plato’s belief (which was also Aristotle’s) was that relate to imitation? not), as concerned exclusively with the rules of (Republic 400a; my emphasis) human nature was formed through a life-long pro - “pure” harmony stripped of any relation to text, cess of cultivating good habits. These good habits For Monteverdi, living in a time of vitriolic polemics rhythm and melody. It philosophical foundations The final sentence mirrors the emphatic declara - would eventually lead to good virtues, -
University of Huddersfield Repository
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/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