1.1 Osvaldo Pugliese - Introduction
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Betty White Vately on the Ing.” Particular Characteristic: They Are Falsifi- More Than Half a Century Ago, a Inside
page 2 ..................Opinion page 14................Senior Safety page 4 ..........................Weird News Coming Up! page 15............SRDA Menu page 5..................Health Happy Father’s Day page 16.............Finances page 7...............Social Security & You Congratulations Class of 2008 page 18...............Senior Classifieds page 8............Light for the Journey page 22..............Fremont/Custer Menu SeniorIF YOU ARE 50 OR OLDER YOUBeacon SHOULD READ IT!! SB JUNE, 2008 Vol. 26: No. 11 Established Aug., 1982 311 Consecutive Months! Potpourri Of Subjects To Tickle Your Fancy by James R. Grasso, Publisher, Chief Cook/Bottle Washer for Senior Beacon flexologist extraordinaire comes Yes, those were pictures of my daughter, Robin the following: Lynn you saw in the Pueblo West View and The Pueblo Here is something not Chieftain in late May. She is the same child that many of many of us get to see, unless you prayed for and continue to pray for beginning in early you live near there - Mt. St. Hel- 2000. It has been eight-plus very demanding years for Rob- ens at sunrise. in Lynn and her immediate family as well as our extended Mt. St.. Helens contin- Senior Beacon family. I’ve tried to keep you all updated ues to spew ash, while it is form- over the years while still trying to keep Robin’s privacy intact. ing a lava dome in the crater and Through all of her trials and tribulations she has persevered and flourished. still having minor tremors. My family and I are very proud of her and her many accomplishments, most espe- Here in this sunrise cially finishing as Valedictorian of her class at Pueblo West High School. -
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. -
Buenos Aires, Mecca of Tango: Activation Processes, Mega Cultural Events, Tourism and Dilemmas in the Local Heritage1
BUENOS AIRES, MECCA OF TANGO: ACTIVATION PROCESSES, MEGA CULTURAL EVENTS, TOURISM AND DILEMMAS IN THE LOCAL HERITAGE1 PhD. Hernán Morel CONICET-UBA/FFyL [email protected] ABSTRACT In this paper, we go through the history of the construction of tango as heritage. The period analyzed here begins in the late 90's and extends until 2010. We analyze the factors underlying the cultural policies that came to surface after the "turn" of tango as heritage in Buenos Aires, that is to say, after the activation and promotion of this popular genre on part of the political power (Morel 2009). Through a process analysis, we outline the official efforts behind this recognition. Simultaneously, we examine the impact of tourism as a decisive factor in the political-cultural approaches of the successive administrations. Our aim is especially focused on two main aspects: first, we highlight the heritage-driven policies that went along with the activation process of this genre, and, secondly, we note the consolidation of the cultural policies and actions which had to do, mainly, with the organization of tango events in relation to the promotion of tourism in the city. Under this framework, we explore the negotiations and disputes which, later on, led to the creation of the Buenos Aires Tango Festival and its institutionalization within the official cultural program. Keywords: political heritage, festivals, tourism, tango. RESUMEN En este artículo nos proponemos realizar un recorrido por la trayectoria de construcción patrimonial del tango, abordando el período que abarca desde fines de la década de los 90 hasta el año 2010. -
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. -
Tango for Musicians at Reed College, June 19-26, 2016 Monday 20 Tuesday 21 Wednesday 22 Thursday 23 Friday 24
Tango for Musicians at Reed College, June 19-26, 2016 Monday 20 Tuesday 21 Wednesday 22 Thursday 23 Friday 24 8:00 to 9:00 am breakfast breakfast breakfast breakfast breakfast 9:00 to 11:00 am strings . group a . ramiro gallo | PAB 105 | strings . group a strings . group a strings . group a Instrumental techniques strings . group b . ramiro gallo | PAB 104 | strings . group b strings . group b strings . group b References Classes will be divided into woodwinds . group a . paulina fain | PAB 231 | woodwinds . group a woodwinds . group a woodwinds . group a smaller groups in order to facilitate student learning. woodwinds . group b . paulina fain | PAB 233 | woodwinds . group b woodwinds . group b woodwinds . group b arranging vocals . sofía tosello | PAB 332 | vocals vocals vocals advanced arranging and composition bandoneon . group a . eva wolff | PAB 131 | bandoneon . group a bandoneon . group a bandoneon . group a parrilla (tango improvisation) bandoneon . group b . eva wolff | PAB 130 | bandoneon . group b bandoneon . group b bandoneon . group b specialized skills piano . group a . hernán possetti | PAB 232 | piano . group a piano . group a piano . group a history of tango piano . group b . hernán possetti | PAB 234 | piano . group b piano . group b piano . group b tango styles fundamentals guitar . group a . adam tully | PAB 223 | guitar . group a guitar . group a guitar . group a pedagogy guitar . group b . adam tully | PAB 222 | guitar . group b guitar . group b guitar . group b bass . group a . ignacio varchausky | PAB 320 | bass . group a bass . group a bass . group a classes open to auditors bass . group b . -
Al Son De La Clave: El 3+3+2 En El Tango Las Décadas Del 20, 30 Y 40 Pablo Mitilineos Clang (N.° 4), Pp
artículos AL SON DE LA CLAVE: EL 3+3+2 EN EL TANGO LAS DÉCADAS DEL 20, 30 Y 40 Pablo Mitilineos Clang (N.° 4), pp. 55-68, abril 2016 ISSN 2524-9215 Al son de la clave: el 3+3+2 en el tango LAS DÉCADAS DEL 20, 30 Y 40 Pablo Mitilineos [email protected] Facultad de Bellas Artes. Universidad Nacional de La Plata. Argentina RESUMEN En la «Tercera Guardia» del tango, desde 1949 en adelante, dentro de la corriente que llamamos «Tango de vanguardia», estudiamos la clave afroamericana «3+3+2» como un elemento estructural de muchas compo- siciones de referentes, como Astor Piazzolla y Eduardo Rovira. Este artículo surge a partir de la investigación sobre el origen de este material y las transformaciones a través de la historia del tango. Más allá de las vincula- ciones altamente consensuadas con las sonoridades africanas desarrolladas en el Río de la Plata desde la época colonial y con el género milonga du- rante el siglo XIX, en el estudio realizado se identificaron otras apariciones de gran importancia textural en versiones de tangos grabadas durante las décadas del veinte, del treinta y del cuarenta. PALABRAS CLAVE Tango de vanguardia, claves afroamericanas, Piazzolla, Rovira Clang Año 4 | N.°4 | ISSN 2524-9215 55 Enseñar música popular no es tarea sencilla. y único» (2014: s/p). Esa línea de trabajo es la No lo era antes y tampoco ahora que existen que intentamos seguir en nuestras clases y en importantes experiencias en instituciones de nuestros trabajos académicos. Actualmente, en enseñanza formal terciaria y universitaria. -
LE MONDE/PAGES<UNE>
LE MONDE DES LIVRES VENDREDI 4 MAI 2001 LE MONDE DES POCHES UNE VIE DOUCE ÉROTISME : NOIRS PARADIS PENSER HIER POUR PENSER DEMAIN ET TRANQUILLE DE PIONNIER Cinq mille ans d’écrits amoureux Deux volumes collectifs pour tirer le bilan A Québec, une colonie française à la fin par Jean-Jacques Pauvert, philosophique du XXe siècle et envisager du XVIIe, par l’Américaine Willa Cather p. III et quelques curiosités p. VIII des pistes nouvelles pour le XXIe p. X a Viktor Pelevine, Michael Collins, Cuba, Québec, les « Poches » du mois... SUPPLÉMENT AU MONDE DU VENDREDI 4 MAI. N˚ 17503 - DIRECTEUR DE LA PUBLICATION : JEAN-MARIE COLOMBANI - IMPRIMERIE LE MONDE www.lemonde.fr 57e ANNÉE – Nº 17503 – 7,50 F - 1,14 EURO FRANCE MÉTROPOLITAINE VENDREDI 4 MAI 2001 FONDATEUR : HUBERT BEUVE-MÉRY – DIRECTEUR : JEAN-MARIE COLOMBANI L’écologie de M. Chirac Enquête sur la folie « Loft Story » b b a Le chef de l’Etat L’émission de « télévision-réalité » de M6 attire massivement les jeunes Prévue pour dix semaines, défend une « écologie elle met en scène la vie intime d’un groupe de garçons et de filles b Coupés du monde, les participants humaniste » ont accepté de fortes contraintes b Exhibitionnisme, voyeurisme, manipulation : le débat fait rage LA CHAÎNE M6 bat tous ses çons (cinq depuis l’abandon de l’un Elle les divise aussi sur la légitimité ter de fortes contraintes : pas de con- qui allierait progrès records d’audience et fait flamber d’entre eux mercredi 2 mai) et cinq de donner à voir un tel spectacle, pré- tacts extérieurs, ni journaux ni ses tarifs publicitaires avec « Loft Sto- filles enfermés et filmés dans un vu pour durer dix semaines. -
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. 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. -
PROYECTO DE DECLARACIÓN El
“2016-Año del Bicentenario de la Declaración de la Independencia Nacional” Senado de la Nación Secretaria Parlamentaria Dirección General de Publicaciones (S-1965/16) PROYECTO DE DECLARACIÓN El Senado de la Nación DECLARA Su adhesión a la conmemoración del 41º aniversario del fallecimiento de Aníbal “Pichuco” Troilo, célebre bandoneonista argentino, compositor y director de orquesta, fallecido el 18 de Mayo de 1975. Guillermo J. Pereyra.- FUNDAMENTOS Señora Presidente: El 11 de julio de 1914 nacía en Buenos Aires uno de los mayores bandoneonistas argentinos, compositor, director de orquesta, que está considerado uno de los grandes renovadores del tango. Aníbal Carmelo Troilo nació pleno barrio del Abasto. Sus padres se llamaban Felisa Bagnoli y Aníbal Troilo. Su padre le pondría el seudónimo de Pichuco, nombre por el cual llamaban a uno de sus mejores amigos; el apodo podría ser una deformación del napolitano picciuso que significa "llorón". Durante su niñez Troilo escuchaba tocar el bandoneón en los bares de su barrio, a los 10 años convenció a su madre para que le comprara uno con el que tocó casi toda su vida.´ Un año después, en 1925 (cuando tenía 11 años) realizó su primera actuación en un bar vecino al Mercado de Abasto. A los 14 años ya había formado un quinteto. Estudió hasta tercer año en la prestigiosa Escuela Superior de Comercio Carlos Pellegrini. En diciembre de 1930 fue contratado para formar parte del famoso sexteto que integraban entre otros el violinista Elvino Vardaro, el pianista Osvaldo Pugliese y Alfredo Gobbi (hijo), donde tuvo como compañero a Ciriaco Ortiz.. En 1931 incursionó brevemente en la orquesta de Juan Maglio, y al promediar ese año se reencontró con Ciriaco Ortiz en la orquesta “Los provincianos” creada fundamentalmente para grabaciones. -
THE BANDONEÓN by Eduardo Lazarowski
THE BANDONEÓN By Eduardo Lazarowski “Each 11 of July is celebrated as the National Day of the Bandoneón as homage to the birthday of Aníbal Troilo” … Thus read a headline on a major Argentine newspaper on July 2014. Neither Troilo’s name nor the instrument that contributed to his rising as one of the greatest personalities in tango history are foreign words to tango dancers around the world. But not many tango lovers know the history of the “tango wind box”. So, let’s examine the major technical and historic features of the instrument considered the “soul” of tango music. The bandoneón was invented to substitute the otherwise expensive and not always available church organs in rural communities of north Germany around 1835. Technically, the bandoneón is a portable wind instrument that belongs to the subgroup of “aero-phones” together with the accordion and the concertina, and it is played by depressing a series of buttons (keys) capriciously distributed on the surface of its two side panels. Opening and closing the blower produce the vibration of metal wedges. Professional tango musicians use the so-called achromatic bandoneón, which produce different notes (by the same key) during the opening and closing of the instrument. A standard modern bandoneón has 71 keys (38 and 33 on the right and left panels, respectively), generating 142 voices. The bandoneón owes its name to its inventor, Heinrich Band and the cooperative (Union) created to financially Maestro Julian Hasse performing in Durham NC support its manufacturing. Thus, when the instrument arrived to Buenos Aires, it was phonetically called by its trade-mark label “Band-Union” and the voice soon mutated from bandunión to bandoneón. -
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.