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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. -
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. -
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. -
Issue 1 : ( Non ) Conformity ( Vol
N O . 1 V O L U M E 1 / N O V E M B E R 2 Lingua 0 2 0 NI S S U E 1a : ( N OtN ) CoO N F OlR MiI TnY ( V OaL . 1 ) US AND THEM SERBIA: WANNA LIVE LIKE ON DANCE: A RETURN OF THE COMMON PEOPLE: NOTES ON NON-ALIGNMENT ON THE APOLITICISM POLICY? MUSEUMIFICATION OF SPACE Uladzimir Niakliaeŭ Antoine Granier Liza Deléon Simon Berger Lingua Natolina E D I T O R I A L It is Lingua Natolina’s belief that the accomplishment of cross-cultural meaning is both a personal and collective adventure beyond the borders set by language and conventional forms of expression. In this sense, rather than a definitive and coherent outlet, our hybrid and multilingual journal is an experience in European intellectual community. The College of Europe's students hail from over 50 countries. By bringing together the talented students of the College of Europe Mario-Soares Promotion (2020-2021), and key voices in the pan-European cultural discourse, we intend to lift up a true Babel-like cacophony that has the potential to spur intercultural and multilingual dialogue further. In this first volume of our issue on (non)conformity, readers will find a collection of academic and creative essays, as well as stories and art that bears witness to the rich cultural tapestry of Europe. This volume includes original texts in Belarusian, German, Italian, French, and English from students and key artists, writers, academics, and political figures. This seminal motivation to enact a shift away from conventional modes of expression led to the choice of the theme of (non)conformity through which form could match content in our first issue. -
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. -
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 ...................................................................................................... -
La Operita María De Buenos Aires
Sonia Alejandra López La operita María de Buenos Aires Texto: Horacio Ferrer - Música: Astor Piazzolla Informe preliminar1 La operita María de Buenos Aires es la primera obra conjunta de Horacio Ferrer y Astor Piazzolla, dos creadores importantísimos, uno de la literatura, el otro de la música de tango. ConMaría de Buenos Aires comienza una “sociedad de trabajo creativo” que en los siguientes años daría numerosas obras literario-musicales de relevante importancia. Una unión artística que, como diría Ferrer, “[...] ha sido una bella fatalidad” (Diana Piazzolla 1987: 193). De esta “bella fatalidad” nace María de Buenos Aires. La obra fue ya en el momento de su estreno y es retrospectivamente una expresión de la cultura musical y literaria porteña de la ciudad de Buenos Aires. Piazzolla era consciente de ello y orgulloso comentaba: “[...] yo creo que ‘María de Buenos Aires’ es el documento más importante de lo que se ha hecho hasta ahora en el tango; nunca se hizo algo de este tipo [...]” (Speratti 1969: 126). Para sus autores significó esta obra una experiencia artística muy valiosa. Para ambos hay un “antes y un después” de la operita. De su experiencia durante la composición comenta Piazzolla: “Nació ahí [con María de Buenos Aires] un Piazzolla más cerebral, junto a un Piazzolla irremediablemente sentimental [...] Llegué al punto más alto adonde podía llegar en esa etapa de mi vida musical ...” (Diana Piazzolla 1987: 197). El presente escrito presenta fragmentariamente una primera colección de obser vaciones desarrolladas más detalladamente en un trabajo en preparación. 62 Sonia Alejandra López Por su parte cataloga Ferrer a la operita en 1996, casi veinte años después de la creación, como la obra “preferida” de entre todas las que realizó con el músico.2 La amistad Ferrer-Piazzolla comienza en 1954 (Ferrer 1977: 220). -
“MARÍA DE BUENOS AIRES” Di Astor Piazzolla, Nel Centenario Della Nascita
Giovedì 17 giugno, ore 11 Teatro Goldoni Presentazione della produzione lirica “MARÍA DE BUENOS AIRES” di Astor Piazzolla, nel centenario della nascita CONFERENZA STAMPA STAGIONE ESTIVA “USCIAMO A RIVEDER LE STELLE” Teatro Goldoni Livorno Venerdì 25, Sabato 26 e Domenica 27 giugno – ore 21.30 Stagione Lirica 2021 - Nel centenario della nascita di Astor Piazzolla MARÍA DE BUENOS AIRES Operita Tango musica Astor Piazzolla testi Horacio Ferrer - Sovratitoli a cura della Fondazione Teatro Goldoni Personaggi e interpreti María / Ombra di María Arianna Manganello El Duende/Lo Spirito Gianluca Ferrato Payador/Porteno/Ladron antiguo mayor/Analista primero/Vos de Ese Domingo Giacomo Medici Orchestra del Teatro Goldoni di Livorno direttore Igor Zobin regia Alessio Pizzech scene e costumi Flavia Ruggeri luci Michele Rombolini assistenti alla regia Stefania Paparella, Francesco Bonati, Noemi Piccorossi Stagisti della Verona Accademia per l’Opera Italiana Nuovo allestimento del Teatro Goldoni di Livorno in coproduzione con Associazione culturale Piccolo Opera Festival Biglietti: Intero € 15 – ridotto € 10 (under 25). I biglietti sono in vendita tutti i giorni dal martedì al sabato con orario 10-13 presso il botteghino del Teatro Goldoni (tel. 0586 204290) e nei giorni di spettacolo due ore prima dell’inizio della rappresentazione. Tutte le informazioni sulla produzione su www.goldoniteatro.it In occasione delle rappresentazioni di MARÍA DE BUENOS AIRES venerdì 25, sabato 26 e domenica 27 dalle ore 20 alle 21 al bar ristorante IL PALCOSCENICO AperiTango Musica, tango e aperitivo per tutti i possessori del biglietto dell’opera al prezzo speciale di € 4 Con l’intervento di Scuola di tango: Tango Barbaro Prima coppia di tangueros Gabriele Sassetti e Barbara Taccini Tutti i possessori di biglietto per una delle rappresentazioni dell’opera in programma al Teatro Goldoni il 25, 26 e 27 giugno, potranno avere uno speciale aperitivo presso il Bar-ristorante “Il Palcoscenico” al costo di € 4 dalle ore 20 alle ore 21 nei giorni di rappresentazione. -
Specials Call Us! See Page 5 > 2 Station Signals January2009 March2009 Sstationtation Ssignalsignals 3
Adirondack Seasons airs Tell Me More premieres Thursday, March 5 at 10:00 p.m. Monday, March 23 at 8 p.m. on WXXI-TV/HD on AM1370/HD91.5-2 STATION SIGNALS TV21 | DTV | AM1370 | FM91.5/90.3/88.5/HD | REACHOUT RADIO | EDUCATION | WXXI.ORG march 2009 in Boston CHRIS BOTTI hosts Rock, Rhythm & Doo Wop Live from the Forum in Acapulco Voices: YANNI YANNI FRANKIE VALLI music SPECIALS call us! see page 5 > 2 StatiON SIGNALS january2009 march2009 SSTATIONtatiON SSIGNALSIGNALS 3 Dear Friend, If you’re a new member of WXXI (especially if you joined during our recent radio membership campaign), let me extend a warm welcome to the WXXI family! You join more than 27,000 others who voluntarily contribute to WXXI to keep our station a strong, independent voice for the Rochester community. Listenership to our radio services, especially news and public affairs, is stronger than ever. There’s also some good news to share about WXXI television. The most recent Nielsen ratings show that WXXI-TV viewers are the most loyal in the nation to their public television station, based on time spent viewing. That means that more people are tuning in and staying with our programming throughout the day. It’s just one measure of audience success, but an important one. Our children’s programming continues to attract a wide, diverse audience, as does drama, culture and news and public affairs in the evening. The WXXI Center for Public Affairs is also being recognized, not just locally, but throughout the state and nation. -
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. -
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.