DOCSLIB.ORG

University of Huddersfield Repository

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

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 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 ...............................................................................................................
Recommended publications
  • An Anthropological Perspective on Eastern and Western Folk Music

    An Anthropological Perspective on Eastern and Western Folk Music

    An Anthropological Perspective on Eastern and Western Folk Music Item Type text; Electronic Thesis Authors Gurczak, Adam Stanley Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 21:02:58 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/625002 AN ANTHROPOLOGICAL PERSPECTIVE ON EASTERN AND WESTERN FOLK MUSIC By ADAM STANLEY GURCZAK ____________________ A Thesis Submitted to The Honors College In Partial Fulfillment of the Bachelors Degree With Honors in Music Performance THE UNIVERSITY OF ARIZONA MAY 2017 Approved by: _________________________ Dr. Philip Alejo Department of Music EASTERN AND WESTERN FOLK MUSIC 1 TABLE OF CONTENTS ABSTRACT 2 ARTIST’S STATEMENT 2 INTRODUCTION 3 ARGENTINE TANGO 4 PRE-TANGO HISTORY: RISE OF THE GAUCHOS 5 A BORDELLO UPBRINGING 5 THE ROOTS AND RHYTHMS OF TANGO 8 A WORLDWIDE SENSATION 9 THE FOREFATHERS OF TANGO 11 CHINESE TRADITIONAL MUSIC 13 THE PHILOSOPHY OF MUSIC 14 INSTRUMENTS OF THE EARTH 16 THE SOUND OF SCHOLARS 18 KOREAN GUGAK 21 GUGAK: A NATIONAL IDENTITY 22 SHAMANS, SINAWI, AND SANJO 24 NOBLE COURTS AND FARMYARDS 28 AMERICAN BLUEGRASS 30 GRASSROOTS, BLUEGRASS, AND BLUES 30 THE POLYNATION OF BLUEGRASS 33 CONCLUSION 36 BIBLIOGRAPHY 37 EASTERN AND WESTERN FOLK MUSIC 2 ABSTRACT The birth of folk music has always depended on the social, political, and cultural conditions of a particular country and its people.
  • A Comparative Case Study of the Political Economy of Music in Cuba and Argentina by Paul Ruffner Honors Capstone Prof

    A Comparative Case Study of the Political Economy of Music in Cuba and Argentina by Paul Ruffner Honors Capstone Prof

    Music, Money, and the Man: A Comparative Case Study of the Political Economy of Music in Cuba and Argentina By Paul Ruffner Honors Capstone Prof. Clarence Lusane May 4, 2009 Political economy is an interpretive framework which has been applied to many different areas in a wide range of societies. Music, however, is an area which has received remarkably little attention; this is especially surprising given the fact that music from various historical periods contains political messages. An American need only be reminded of songs such as Billy Holliday’s “Strange Fruit” or the general sentiments of the punk movement of the 1970s and 80s to realize that American music is not immune to this phenomenon. Cuba and Argentina are two countries with remarkably different historical experiences and economic structures, yet both have experience with vibrant traditions of music which contains political messages, which will hereafter be referred to as political music. That being said, important differences exist with respect to both the politics and economics of the music industries in the two countries. Whereas Cuban music as a general rule makes commentaries on specific historical events and political situations, its Argentine counterpart is much more metaphorical in its lyrics, and much more rhythmically and structurally influenced by American popular music. These and other differences can largely be explained as resulting from the relations between the community of musicians and the state, more specifically state structure and ideological affiliation in both cases, with the addition of direct state control over the music industry in the Cuban case, whereas the Argentine music industry is dominated largely by multinational concerns in a liberal democratic state.
  • Uhm Phd 9205877 R.Pdf

    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.
  • Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla

    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.
  • Milva Live at the "Bouffes Du Nord" Mp3, Flac, Wma

    Milva Live at the "Bouffes Du Nord" Mp3, Flac, Wma

    Milva Live At The "Bouffes Du Nord" mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Latin / Pop / Folk, World, & Country Album: Live At The "Bouffes Du Nord" Country: Germany Released: 1984 Style: Tango, Vocal MP3 version RAR size: 1722 mb FLAC version RAR size: 1618 mb WMA version RAR size: 1763 mb Rating: 4.5 Votes: 877 Other Formats: ASF MOD VOC MPC DTS XM MP2 Tracklist Hide Credits Morire En Buenos Aires 1 4:53 Written-By – Angela Tarenzi, Astor Piazzolla, Horacio Ferrer Los Pajaros Perdidos 2 4:06 Written-By – Astor Piazzolla, Michele Trejo De Carissimo 3 2:50 Written-By – Astor Piazzolla Années De Solitude 4 3:47 Written-By – Astor Piazzolla, Maxime Le Forestier Balada Para Un Loco 5 5:49 Written-By – Astor Piazzolla, Horacio Ferrer Vamos Nina 6 4:27 Written-By – Astor Piazzolla, Horacio Ferrer J'Oublie 7 4:28 Written-By – Astor Piazzolla, David McNeil Che Tango Che 8 3:49 Written-By – Astor Piazzolla, Jean-Claude Carrière Preludio Para El Año 3001 9 4:21 Written-By – Angela Tarenzi, Astor Piazzolla, Horacio Ferrer Finale "Entre Brecht Et Brel" 10 5:16 Written-By – Astor Piazzolla, Claude Lemesle Companies, etc. Recorded At – Théâtre des Bouffes du Nord, Paris Manufactured By – Metronome Musik GmbH Distributed By – Metronome Musik GmbH Phonographic Copyright (p) – Metronome Musik GmbH Mixed At – Rüssl Studio Credits Artwork [Cover Design] – Michael Behr Bandoneon – Astor Piazzolla Bass – Hector Console Ensemble – Quintette De Tango Contemporain (tracks: 3) Guitar – O. Lopez Ruiz* Mixed By – Thomas Kuckuck* Piano – Pablo Ziegler Violin – F. Suarez Paz* Notes (P) 1984 METRONOME MUSIC GmbH Recorded live at the Theatre "Bouffes du Nord", Paris, September 29th., 1984 by "Le Voyageur" mobile studio.
  • Astor Piazzolla This Is the Story of Travel, Travail and Triumph in the Life

    Astor Piazzolla This Is the Story of Travel, Travail and Triumph in the Life

    Astor Piazzolla This is the story of travel, travail and triumph in the life of an Argentine musician, Astor Pantaléon Piazzolla. His travels were two-fold: across the continents and through many kinds of music. That he was able eventually to combine these musical strands into something new and distinctively his own was his triumph, but it was long-delayed and there were many travails along the way. Argentina’s spectacular 19th century boom had attracted millions of migrants, including Piazzolla’s Italian grandparents. By the time of Piazzolla’s birth in 1921, it was long over, but the rich ethnic mix it created had left a musical legacy. In the brothels of Buenos Aires, the music and dance of Spain, Cuba and Italy had fused with that of the gauchos and Afro- Argentine ex-slaves to create a new dance form, the tango. Its early manifestations were blatantly sexual and reeked too much of the bordello to be tolerated in polite society. But after some refinement in the salons of Paris it emerged in 1912 to sweep the world. Argentina especially went wild for the tango and its quintessential instrument, the bandoneón, an odd form of concertina with a characteristic tone. A public holiday, July 11, was declared Bandoneón Day, and tango cafés, dance halls and cabaret houses sprang up everywhere to cater for every social stratum. Astor’s father, Vincente, was an enthusiastic tanguero and dreamed that his son would become a bandoneonist. His dream came true but hardly in the way he imagined. It was with great reluctance that Vincente took his family away from this lively scene to search for prosperity in New York and it almost proved disastrous for his son.
  • Escúchame, Alúmbrame. Apuntes Sobre El Canon De “La Música Joven”

    Escúchame, Alúmbrame. Apuntes Sobre El Canon De “La Música Joven”

    ISSN Escúchame, alúmbrame. 0329-2142 Apuntes de Apuntes sobre el canon de “la investigación del CECYP música joven” argentina entre 2015. Año XVII. 1966 y 1973 Nº 25. pp. 11-25. Recibido: 20/03/2015. Aceptado: 5/05/2015. Sergio Pujol* Tema central: Rock I. No caben dudas de que estamos viviendo un tiempo de fuerte interroga- ción sobre el pasado de lo que alguna vez se llamó “la música joven ar- gentina”. Esa música ya no es joven si, apelando a la metáfora biológica y más allá de las edades de sus oyentes, la pensamos como género desarro- llado en el tiempo según etapas de crecimiento y maduración autónomas. Veámoslo de esta manera: entre el primer éxito de Los Gatos y el segundo CD de Acorazado Potemkin ha transcurrido la misma cantidad de años que la que separa la grabación de “Mi noche triste” por Carlos Gardel y el debut del quinteto de Astor Piazzolla. ¿Es mucho, no? En 2013 la revista Rolling Stone edición argentina dedicó un número es- pecial –no fue el primero– a los 100 mejores discos del rock nacional, en un arco que iba de 1967 a 2009. Entre los primeros 20 seleccionados, 9 fueron grabados antes de 1983, el año del regreso de la democracia. Esto revela que, en el imaginario de la cultura rock, el núcleo duro de su obra apuntes precede la época de mayor crecimiento comercial. Esto afirmaría la idea CECYP de una época heroica y proactiva, expurgada de intereses económicos e ideológicamente sostenida en el anticonformismo de la contracultura es- tadounidense adaptada al contexto argentino.
  • El Presente Trabajo Fue Presentado En El II Congreso Internacional De

    El Presente Trabajo Fue Presentado En El II Congreso Internacional De

    El presente trabajo fue presentado en el II Congreso Internacional de Lenguas, Migraciones y Culturas, llevado a cabo en la Facultad de Lenguas de la Universidad Nacional de Córdoba, Argentina, los días 21, 22, 23 y 24 de mayo de 2018. EL SERVICIO SPOTIFY COMO HERRAMIENTA DE PENETRACIÓN CULTURAL Strano, Mariano Facultad de Humanidades y Artes, UNR Rosario, Argentina [email protected] Con el surgimiento de Spotify, la reconocida plataforma que transmite contenidos musicales de las grandes discográficas a cualquier lugar del mundo y en cualquier momento, incluso a través de los teléfonos celulares, a partir de los años 2010 la búsqueda de contenidos comenzó a ser realizada a través de este medio, bajo los conceptos de simplicidad, comodidad, legalidad y gratuidad. Consiguientemente, los usuarios/consumidores perdieron protagonismo en la búsqueda y elección de música frente a las sugerencias coactivas que el servicio realiza desde la pantalla. Con ello, la industria discográfica multiplicó el caudal de sus flujos de distribución, consiguiendo imponer modas y productos con mayor facilidad y con menores costos respecto a los medios de comunicación tradicionales. El poder de Spotify para sortear fronteras y penetrar esferas culturales es mayor en los usuarios que no pueden acceder al servicio de pago, y que por lo tanto están expuestos a la publicidad no selectiva y a las escuchas forzosas de productos musicales que no es posible elegir ni rechazar. Así, de la mano de democratización y liberalización de la oferta y la demanda de contenidos culturales, en Argentina, las capitales géneros como el cuarteto o el chamamé presentan disminuciones en el consumo de dichos ritmos tradicionales.
  • Talking Book Topics November-December 2017

    Talking Book Topics November-December 2017

    Talking Book Topics November–December 2017 Volume 83, Number 6 Need help? Your local cooperating library is always the place to start. For general information and to order books, call 1-888-NLS-READ (1-888-657-7323) to be connected to your local cooperating library. To find your library, visit www.loc.gov/nls and select “Find Your Library.” To change your Talking Book Topics subscription, contact your local cooperating library. Get books fast from BARD Most books and magazines listed in Talking Book Topics are available to eligible readers for download on the NLS Braille and Audio Reading Download (BARD) site. To use BARD, contact your local cooperating library or visit nlsbard.loc.gov for more information. The free BARD Mobile app is available from the App Store, Google Play, and Amazon’s Appstore. About Talking Book Topics Talking Book Topics, published in audio, large print, and online, is distributed free to people unable to read regular print and is available in an abridged form in braille. Talking Book Topics lists titles recently added to the NLS collection. The entire collection, with hundreds of thousands of titles, is available at www.loc.gov/nls. Select “Catalog Search” to view the collection. Talking Book Topics is also online at www.loc.gov/nls/tbt and in downloadable audio files from BARD. Overseas Service American citizens living abroad may enroll and request delivery to foreign addresses by contacting the NLS Overseas Librarian by phone at (202) 707-9261 or by email at [email protected]. Page 1 of 128 Music scores and instructional materials NLS music patrons can receive braille and large-print music scores and instructional recordings through the NLS Music Section.
  • ¿Donde Está La Música Chilena? * Entrevistas A

    ¿Donde Está La Música Chilena? * Entrevistas A

    * ¿Donde está la música chilena? * Entrevistas a Margot Loyola, José Oplustil, Rodrigo Torres, José Perez de Arce y Claudio Mercado * ¿Tiene ritmo la historia de Chile? * Escriben Rodolfo Parada-Lillo, Octavio Hasbún, Fabio Salas y David Ponce Dirección de Bibliotecas, Archivos y Museos # 49 Año XIII Primavera 2008 $1.600 yo no canto por cantar... Patrimonio Cultural N° 49 (Año XIII) Primavera de 2008 Revista estacional de la Dirección de Bibliotecas, Archivos y Museos (Dibam), Ministerio de Educación de Chile. Directora y representante legal: Nivia Palma. Consejo editorial: Ricardo Abuauad, José Bengoa, Marta Cruz Coke, Diamela Eltit, Humberto Giannini, Ramón Griffero, Pedro Güell, Marta Lagos, Pedro Milos, Jorge Montealegre, Micaela Navarrete y Pedro Pablo Zegers. Comité editor: Claudio Aguilera, Grace Dunlop, Gloria Elgueta, Michelle Hafemann, Virginia Jaeger, Leonardo Mellado y Delia Pizarro. Colaboran: Gabinete y Departamento de Prensa y RR.PP. Dibam; Extensión Cultural de la Biblioteca Nacional; Museo Histórico Nacional. Editora: Grace Dunlop ([email protected]). Periodista: Virginia Jaeger ([email protected], [email protected]). Ventas y suscripciones: Myriam González ([email protected]) Carmen Santa María ([email protected]) Diseño: Junta Editorial de las Comunas Unidas (www.juntaeditorial.cl) Corrección de textos: Héctor Zurita Dirección: Alameda Bernardo O’Higgins 651 (Biblioteca Nacional, primer piso), Santiago de Chile. Teléfonos: 360 53 84 – 360 53 30 Fono-Fax: 632 48 03 Correo electrónico: [email protected] Sitio web: www.patrimoniocultural.cl En el diseño de esta publicación se utilizan las tipografías Fran Pro de Francisco Gálvez y Digna Sans de Rodrigo Ramírez, ambos pertenecientes al colectivo www.tipografia.cl Esta revista tiene un tiraje de 5.000 ejemplares que se distribuyen en todo el país, a través de la red institucional de la Dibam, suscripciones y librerías.
  • Festejan Los 94 Años Del Gran Pianista Y Compositor Atilio Stampone - Télam - Agencia Nacional De Noticias

    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.
  • TANGO… the Perfect Vehicle the Dialogues and Sociocultural Circumstances Informing the Emergence and Evolution of Tango Expressions in Paris Since the Late 1970S

    TANGO… the Perfect Vehicle the Dialogues and Sociocultural Circumstances Informing the Emergence and Evolution of Tango Expressions in Paris Since the Late 1970S

    TANGO… The Perfect Vehicle The dialogues and sociocultural circumstances informing the emergence and evolution of tango expressions in Paris since the late 1970s. Alberto Munarriz A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO March 2015 © Alberto Munarriz, 2015 i Abstract This dissertation examines the various dialogues that have shaped the evolution of contemporary tango variants in Paris since the late 1970s. I focus primarily on the work of a number of Argentine composers who went into political exile in the late 1970s and who continue to live abroad. Drawing on the ideas of Russian linguist Mikhail Bakhtin (concepts of dialogic relationships and polyvocality), I explore the creative mechanisms that allowed these and other artists to engage with a multiplicity of seemingly irreconcilable idioms within the framing concept of tango in order to accommodate their own musical needs and inquietudes. In addition, based on fieldwork conducted in Basel, Berlin, Buenos Aires, Gerona, Paris, and Rotterdam, I examine the mechanism through which musicians (some experienced tango players with longstanding ties with the genre, others young performers who have only recently fully embraced tango) engage with these new forms in order to revisit, create or reconstruct a sense of personal or communal identity through their performances and compositions. I argue that these novel expressions are recognized as tango not because of their melodies, harmonies or rhythmic patterns, but because of the ways these features are “musicalized” by the performers. I also argue that it is due to both the musical heterogeneity that shaped early tango expressions in Argentina and the primacy of performance practices in shaping the genre’s sound that contemporary artists have been able to approach tango as a vehicle capable of accommodating the new musical identities resulting from their socially diverse and diasporic realities.