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Copyright by Mariana Stratta Gariazzo 2005 Copyright by Mariana Stratta Gariazzo 2005 The Treatise Committee for Mariana Stratta Gariazzo certifies that this is the approved version of the following dissertation: Argentine Music for Flute with the Employment of Extended Techniques: An Analysis of Selected Works by Eduardo Bértola and Marcelo Toledo Committee: Gerard Béhague, Co-Supervisor Karl Kraber, Co-Supervisor Lorenzo Candelaria Eugenia Costa-Giomi Patrick Hughes Nicolas Shumway Argentine Music for Flute with the Employment of Extended Techniques: An Analysis of Selected Works by Eduardo Bértola and Marcelo Toledo by Mariana Stratta Gariazzo, B.A.; M.M. Treatise 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 Musical Arts The University of Texas at Austin May, 2005 Dedication I would like to thank my parents, Inés and Jorge Stratta, for their encouragement and support throughout my entire education and their immense generosity in letting me pursue my dreams in spite of the distance. For that, I will be forever grateful. I also extend an immense amount of gratitude to those who accompanied me during the years of my graduate studies. My family-in-law became the main source of encouragement while pursuing my doctoral education. They have witnessed and assisted me through hectic times from the comprehensive exams to researching and so much more that it would not be possible to describe everything in the frame of this note. I am deeply grateful to all of them. Lastly, but most importantly, I would like to dedicate all the effort, gray hair, and time this work has taken to my dear husband, Claudio. He, more than anyone, has suffered the preparation of this project during countless days, nights and weekends of work and voluntary confinement. You believed in me at every moment and helped me through every step. Your rallying and optimistic spirit showed me there is a lot for us to enjoy and live upon, and I look forward to the future more than ever before, because you are in it! Acknowledgements I wish to express my sincere gratitude to my advisor, Dr. Gerard Béhague, for his commitment to this dissertation. I am sincerely honored by his encouragement and assistance on this project. I would like to thank my mentor and doctoral flute teacher, Prof. Karl Kraber, without whose support and guidance during my four years of study at UT, I would not be the musician that I am. Additionally, I am deeply grateful to Dr. Lorenzo Candelaria, whose prompt action and assistance during harsh times enabled me to continue my doctoral studies. I would also like to thank the members of my committee for their time and effort on the completion of this work: Dr. Eugenia Costa-Giomi, Prof. Patrick Hughes, and Prof. Nicolas Shumway. This entire endeavor would not have been possible without the consent and assistance of Marcelo Toledo. While his help in securing materials, revising chapters, and providing suggestions for this project was priceless, his music has been the most precious contribution and inspiration. Graciela Paraskevaídis and Marta Lambertini were invaluable assets in ascertaining works and addressing inquiries on the subject of this study. The long-distance communication for the UT School of Music’s requirements and paper-work was enormously facilitated by Stephen Wray to whom my sincere thanks are extended. Furthermore, many dear friends and colleagues have contributed by providing materials from Argentina and important insights. My old and dear friend Cintia Ciorciari has shared with me countless life and musical’s experiences since back to our childhood. v She has been an enormous amount of support and advice through my studies at UT, and has never been more than a phone call or an email away to eagerly help facilitating materials or anything needed for this project. My gratitude is extended also to Juan Maria Solare, Luis Toro, Patricia García, Juliana Moreno, Oscar Di Liscia, Daniel Schachter, Sebastián Zubieta, Fernando Maglia, and Gabriel Colautti. Lastly, I would like to thank my earlier flute teachers at the Universidad Nacional de Cuyo, Prof. Lars Nilsson and Lic. Beatriz Plana, who have taught and inspired me through their love and commitment to music. vi Abstract Argentine Music for Flute with the Employment of Extended Techniques: An Analysis of Selected Works by Eduardo Bértola and Marcelo Toledo Publication No. ______ Mariana Stratta Gariazzo, D.M.A. The University of Texas at Austin, 2005 Co-Supervisors: Gerard Béhague and Karl Kraber Extended techniques used in contemporary music for flute refers to particular performance techniques that need to be utilized to produce non-conventional sonorities on the flute. This study provides an examination of the technical development of extended techniques in the flute repertoire by Argentine composers. A supplementary vii anthology of these works has been compiled and included to provide a reference point for further academic research. Furthermore, two pieces were selected from these works to illustrate the technical evolution encompassed by the utilization of new instrumental techniques in the last five decades. An exhaustive analysis of these compositions intends to provide readers and contemporary music performers with valuable ideas that may enrich their capacity to understand the specialized repertoire and to conceive further development and musical application of new instrumental resources. viii Table of Contents LIST OF TABLES................................................................................................................ xii LIST OF EXAMPLES..........................................................................................................xiii .INTRODUCTION............................................................................................................ 1 CHAPTER 1: HISTORY OF CONTEMPORARY MUSIC IN ARGENTINA................................. 3 INTRODUCTION............................................................................................................................ 3 The Beginning of the Twentieth-Century .................................................................... 4 1930-1945: THE RISE OF CONTEMPORARY ARGENTINE MUSIC ................................................. 7 Nationalism and Internationalism .............................................................................. 7 The Grupo Renovación ............................................................................................... 8 Juan Carlos Paz and Twelve-tone Music.................................................................. 11 1945-1975: THE POST-WWII YEARS........................................................................................ 12 Musical Trends.......................................................................................................... 13 Music Associations.................................................................................................... 14 Symphonic Orchestras .............................................................................................. 14 The Universities ........................................................................................................ 15 The Latin American Center for Advanced Musical Studies...................................... 16 The Rise of Electroacoustic Music............................................................................ 17 1975 TO PRESENT: FROM DICTATORSHIP TO DEMOCRACY ...................................................... 19 Multiplicity of Styles ................................................................................................. 19 New Music Schools and Music Programs ................................................................ 20 New Advances in Electroacoustic Music .................................................................. 21 Contemporary Music Ensembles .............................................................................. 22 Music Festivals and Concert Series.......................................................................... 24 CHAPTER 2: THE DEVELOPMENT OF A NEW INSTRUMENTAL IDIOM............................. 27 INTRODUCTION.......................................................................................................................... 27 A JOURNEY TO INSTRUMENTAL EXPERIMENTATION ................................................................ 28 On Timbre and Color................................................................................................ 28 From Sounds to Noises ............................................................................................. 29 Electronic Manipulation of Sounds .......................................................................... 30 Mixing Instrumental and Electronic Sounds............................................................. 31 The Computer in Musical Composition .................................................................... 32 A NEW INSTRUMENTAL LANGUAGE ......................................................................................... 33 The Contemporary Repertoire for Flute................................................................... 33 Performers/composers .............................................................................................. 35 Flute-making Innovations ......................................................................................... 37 EXTENDING THE TECHNICAL BOUNDARIES .............................................................................
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