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Malpaso Dance Company Is Filled with Information and Ideas That Support the Performance and the Study Unit You Will Create with Your Teaching Artist
The Joyce Dance Education Program Resource and Reference Guide Photo by Laura Diffenderfer The Joyce’s School & Family Programs are supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council; and made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. Special support has been provided by Con Edison, The Walt Disney Company, A.L. and Jennie L. Luria Foundation, and May and Samuel Rudin Family Foundation, Inc. December 10, 2018 Dear Teachers, The resource and reference material in this guide for Malpaso Dance Company is filled with information and ideas that support the performance and the study unit you will create with your teaching artist. For this performance, Malpaso will present Ohad Naharin’s Tabla Rasa in its entirety. Tabula Rasa made its world premiere on the Pittsburgh Ballet Theatre on February 6, 1986. Thirty-two years after that first performance, on May 4, 2018, this seminal work premiered on Malpaso Dance Company in Cuba. Check out the link here for the mini-documentary on Ohad Naharin’s travels to Havana to work with Malpaso. This link can also be found in the Resources section of this study guide. A new work by company member Beatriz Garcia Diaz will also be on the program, set to music by the Italian composer Ezio Bosso. The title of this work is the Spanish word Ser, which translates to “being” in English. I love this quote by Kathleen Smith from NOW Magazine Toronto: "As the theatre begins to vibrate with accumulated energy, you get the feeling that they could dance just about any genre with jaw-dropping style. -
Raza Criolla Anuario 201 1 Vol
ANUARIO 2011 ANUARIO RAZA CRIOLLA RAZA VOL. 100 tapafinal.p65 3 2012-09-08, 12:51 ASOCIACION CRIADORES DE CABALLOS CRIOLLOS Consejo Directivo 2009 / 2011 Presidente Sr. Luis Amadeo Lastra Vicepresidente Dr. Alejandro Gustavo Aguerre Vicepresidente 2º Ing. Enrique Tronconi Secretarios Sr. Raúl Freire ANUARIO Dr. Roberto Ceruti DE LA ASOCIACION CRIADORES DE CABALLOS CRIOLLOS Tesorero Director: Lic. Claudio R. Dowdall Sr. Luis Amadeo Lastra Pro-tesorero Presidente de la Comisión de Publicaciones: Dr. Alfonso De Laferrere Sr. Raúl Etchebehere Vocales Titulares Fotografías: Ing. Mariano W. Andrade Sr. Carlos Bartolomé Allende, Sr. Daniel Sempé, Sr. Ricardo J. Braida Socios, Criadores y Expositores Cdor. Horacio J. España Sonvico Sr. Hugo J. González Selección fotográfica: Cdor. Ricardo Mathó Meabe Dr. Mariano Oneto Vocales Suplentes Morfología y Funcionales Arq. Eduardo Pieroni, Cdor. Sebastián España Cdor. Gustavo Marchesini Sr. Martín Díaz Rivero, Sr. Mariano Gómez Quiroga Esc. Miguel Roque Solanet Sr. Hernán Carrillat Recopilación y corrección de material recibido: Sr. Carlos Oscar Salto Comisión Revisora de Cuentas Titulares Sr. Felipe S. Amadeo Lastra Ing. Alberto Grimaux Foto de Tapa: Eduardo Rocha / 4C con Adaptación y Diseño de Yanina Staricco Srta. Cecilia Planes Las opiniones que se emiten en los artículos que contiene la presente Revisor Suplente publicación son de responsabilidad exclusiva de quienes las formulan. Se autoriza la publicación de temas parciales, con especial mención Sr. José Luis Amadeo Lastra de su procedencia. Gerente Producción Editorial e Impresión: PUBLICIDAD NORTE / A. STARICCO Sra. Magdalena Silveyra de Soria San Martín 424, p. 6º - of. 17 (1004) Cdad. de Bs. As. Tel: (011) 4325-7753 / 4326-5801 [email protected] Larrea 670 - (1030) - Cdad. -
Cubaneo in Latin Piano: a Parametric Approach to Gesture, Texture, and Motivic Variation Orlando Enrique Fiol University of Pennsylvania, [email protected]
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2018 Cubaneo In Latin Piano: A Parametric Approach To Gesture, Texture, And Motivic Variation Orlando Enrique Fiol University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Music Theory Commons Recommended Citation Fiol, Orlando Enrique, "Cubaneo In Latin Piano: A Parametric Approach To Gesture, Texture, And Motivic Variation" (2018). Publicly Accessible Penn Dissertations. 3112. https://repository.upenn.edu/edissertations/3112 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3112 For more information, please contact [email protected]. Cubaneo In Latin Piano: A Parametric Approach To Gesture, Texture, And Motivic Variation Abstract ABSTRACT CUBANEO IN LATIN PIANO: A PARAMETRIC APPROACH TO GESTURE, TEXTURE, AND MOTIVIC VARIATION COPYRIGHT Orlando Enrique Fiol 2018 Dr. Carol A. Muller Over the past century of recorded evidence, Cuban popular music has undergone great stylistic changes, especially regarding the piano tumbao. Hybridity in the Cuban/Latin context has taken place on different levels to varying extents involving instruments, genres, melody, harmony, rhythm, and musical structures. This hybridity has involved melding, fusing, borrowing, repurposing, adopting, adapting, and substituting. But quantifying and pinpointing these processes has been difficult because each variable or parameter embodies a history and a walking archive of sonic aesthetics. In an attempt to classify and quantify precise parameters involved in hybridity, this dissertation presents a paradigmatic model, organizing music into vocabularies, repertories, and abstract procedures. Cuba's pianistic vocabularies are used very interactively, depending on genre, composite ensemble texture, vocal timbre, performing venue, and personal taste. -
1 UNIVERSIDAD PEDAGÓGICA NACIOAL Danzón Y Pachanga A
UNIVERSIDAD PEDAGÓGICA NACIOAL Danzón y pachanga a propósito de la creación (Obra: Dos estilos pa’ gozar) Trabajo de grado presentado para obtener el título de Licenciado en Música JONNATAN VILLEGAS HUERTAS Código: 2016175048 Asesor: Javier Riveros Castillo UNIVERSIDAD PEDAGÓGICA NACIONAL FACULTAD DE BELLAS ARTES LICENCIATURA EN MÚSICA BOGOTÁ, 2021. 1 AGRADECIMIENTOS Quiero agradecer a mi familia, por su apoyo incondicional. En especial, quiero hacer mención de mi madre Deissy Huertas, quien es la persona que siempre ha estado ahí, para brindarme todo su cariño que ha sido reconfortante en los momentos más complejos de mi vida. También, quiero agradecer a la Universidad Pedagógica, a los maestros de la Licenciatura en música, por haber compartido sus conocimientos conmigo, necesarios para este camino artístico y pedagógico que pretendo seguir recorriendo. Por último, quiero agradecer a mi tutor, al maestro Javier Riveros, por su ejemplo, su dedicación, su exigencia y sobre todo su apoyo y confianza, pues fue fundamental en cada una de las etapas de esta monografía para poder alcanzar los objetivos planeados. 2 TABLA DE CONTENIDO Contenido AGRADECIMIENTOS ............................................................................................. 2 TABLA DE CONTENIDO ......................................................................................... 3 INTRODUCCIÓN .................................................................................................... 5 Capítulo 1: Planteamiento del problema ................................................................. -
Identity in Cinco Canciones Negras (1945) by Xavier Montsalvatge Alice Henderson
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2013 Identity in Cinco Canciones Negras (1945) by Xavier Montsalvatge Alice Henderson Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC IDENTITY IN CINCO CANCIONES NEGRAS (1945) BY XAVIER MONTSALVATGE By ALICE HENDERSON A thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Summer Semester, 2013 Alice Henderson defended this thesis on June 20, 2013. The members of the supervising committee were: Dr. Douglass Seaton Professor Directing Thesis Dr. Charles E. Brewer Committee Member Dr. Marcía Porter Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii I dedicate this thesis to Jim, Jane, and Emily Henderson. iii ACKNOWLEDGMENTS I would like to acknowledge Drs. Douglass Seaton, Charles Brewer, Marcía Porter, and Juan Carlos Galeano for being so generous with their time and providing such valuable contributions to this thesis. I am also indebted to Drs. Denise Von Glahn, Michael Broyles, Michael Bakan, Frank Gunderson, and Margaret Jackson for their stimulating classes and daily encouragement. iv TABLE OF CONTENTS List of Figures . vi List of Tables . vii List of Musical Examples . viii Abstract . ix 1. BACKGROUND AND SOCIAL CONTEXT OF SPAIN AND SPANISH AMERICA . 1 2. XAVIER MONTSALVATGE AND CINCO CANCIONES NEGRAS . 12 3. I. “CUBA DENTRO DE UN PIANO” (CUBA IN A PIANO) . -
Coros De Clave
Coros de Clave Villaverde, Cirilo. 1974 (1882). Cecilia Vald é s, o La popular style of the Afro-Cuban music and dance Loma del Angel [Cecilia Vald é s or El Angel Hill]. genre rumba. In addition to coros de clave , there were Havana: Ediciones Hurac á n. also groups called coros de guaguanc ó , which diff ered in certain ways, although the two are oft en discussed Discographical References as the same tradition. Scholars utilize a variety of Irakere. Teatro Amadeo Rold á n . Areito LD-3420. names to refer to the tradition, and it is likely that LP-12. 1974 : Cuba. (Contains a version of Ernesto there were diff erent appellations used in Havana and Lecuona ’ s ‘ Danza ñ á ñ iga. ’ ) Matanzas. For example, in discussions of the tradi- Orquesta Todos Estrellas. Danz ó n All Stars. Mi gran tion in Matanzas, scholars have used the terms coros pasi ó n . EGREM CD-0353. 1999 : Cuba. de rumba (Grasso Gonz á lez 1989, 9; É vora 1997, Rotterdam Conservatory Orquesta T í pica. Cuba: 187) and bandos (Mart í nez Rodr í guez 1977, 128; Contradanzas and Danzones . Nimbus Records CD Esquenazi P é rez 2001, 210). Although mentioned by NI5502. 1996 : UK and USA. numerous scholars, there are no in-depth studies on Vald é s, Chucho, and Irakere. Chucho Vald é s, Piano this tradition. I . Areito LD-3781. LP-12. 1976 : Cuba. (Contains ‘ Contradanza no. 1 ’ by Chucho Vald é s.) History Coros de clave were an Afro-Cuban imitation of Discography Catalan choral societies brought to Havana in the later Choose Your Partners! Contra Dance and Square Dance nineteenth century, and were named aft er a Catalan of New Hampshire. -
Rumba Y Música Afrocubana
T Rumba y música afrocubana De los humildes solares de barrios a los congresos internacionales de Salsa Por Fabrice Hatem Traducción : Yirka Maceo Ferrera 1 Índice Introducción ........................................................................................................................................... 4 Principios del siglo XX: la Rumba nace en las calles de los puertos cubanos .......................................... 6 Una música inventada por el pueblo. ................................................................................................. 6 Un lento proceso de gestación ....................................................................................................... 6 Cristalización en los puertos a finales del siglo XIX ......................................................................... 8 Una práctica informal de barrios pobres .......................................................................................... 13 Una forma sincrética nacida de la inventiva popular ................................................................... 13 Simplicidad de los instrumentos ................................................................................................... 16 Una práctica callejera ................................................................................................................... 16 Temas y lenguage: la poesía del Solar .............................................................................................. 18 Temas poéticos: el mundo visto desde el solar ........................................................................... -
Siento Una Flauta: Improvisational Idiom, Style, and Performance Practice of Charanga Flutists in New York from 1960 to 2000
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2015 Siento una Flauta: Improvisational Idiom, Style, and Performance Practice of Charanga Flutists in New York from 1960 to 2000 Jessica Lynne Valiente 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/1170 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] Siento una Flauta: Improvisational Idiom, Style, and Performance Practice of Charanga Flutists in New York from 1960 to 2000 by Jessica Valiente A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2015 © 2015 JESSICA VALIENTE All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Music to satisfy the dissertation Requirement for the degree of Doctor of Musical Arts Benjamin Lapidus Date Chair of Examining Committee Norman Carey Date Executive Officer Stephen Blum Peter Manuel Danilo Lozano Supervisory Committee THE CITY UNIVERSITY OF NEW YOR iii Abstract SIENTO UNA FLAUTA: IMPROVISATIONAL IDIOM, STYLE, AND PERFORMANCE PRACTICE OF CHARANGA FLUTISTS IN NEW YORK FROM 1960 TO 2000 Advisor: Professor Stephen Blum The charanga, the Cuban dance music ensemble consisting of flute, strings, piano, bass, timbales, congas, and güiro, and vocals, underwent five decades of evolution in Cuba, beginning in the early 20th century. -
The Immense Legacy of Africa in the Latin American Literature and Music
The Immense Legacy of Africa in the Latin American Literature and Music Domitila De La Torre Bonham Elementary INTRODUCTION The history and culture of global people is a topic that brings together activities I love to do: to learn, to read different genres of literature, and to teach. The seminar with Professor Kairn Klieman, African History: Ancient Times to the Atlantic Slave Trade Era, provided me with an opportunity to fulfill my passion for teaching poems, tales, drama and music by learning about Africa, a continent that in the past five years has become very close to me. I am a Third Grade Bilingual teacher at Bonham Elementary in the Houston Independent School District West Region. As a bilingual teacher, I teach language arts, math, science, and social studies to Hispanic students in Spanish and English. My class is composed of Spanish- speaking students only. For the past five years, besides being in the classroom, I also have served as the soccer coach at my school because soccer is one of my many other passions. However, the main reason I coach is that I feel that I am giving an opportunity to every player on my team to develop athletically, socially, and academically. This new phase of my life as the soccer coach gave me the possibility to be in constant contact with not only the Hispanic children in my classroom that are 50% of our school population, but also with the rest of the student body. The remaining 50% of our student population consists of 35 % African-American, 13% immigrants or refugees from Africa, and 2% Asians and Caucasians. -
Redalyc."Somos Cubanos!"
Trans. Revista Transcultural de Música E-ISSN: 1697-0101 [email protected] Sociedad de Etnomusicología España Froelicher, Patrick "Somos Cubanos!" - timba cubana and the construction of national identity in Cuban popular music Trans. Revista Transcultural de Música, núm. 9, diciembre, 2005, p. 0 Sociedad de Etnomusicología Barcelona, España Available in: http://www.redalyc.org/articulo.oa?id=82200903 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Somos Cubanos! Revista Transcultural de Música Transcultural Music Review #9 (2005) ISSN:1697-0101 “Somos Cubanos!“ – timba cubana and the construction of national identity in Cuban popular music Patrick Froelicher Abstract The complex processes that led to the emergence of salsa as an expression of a “Latin” identity for Spanish-speaking people in New York City constitute the background before which the Cuban timba discourse has to be seen. Timba, I argue, is the consequent continuation of the Cuban “anti-salsa-discourse” from the 1980s, which regarded salsa basically as a commercial label for Cuban music played by non-Cuban musicians. I interpret timba as an attempt by Cuban musicians to distinguish themselves from the international Salsa scene. This distinction is aspired by regular references to the contemporary changes in Cuban society after the collapse of the Soviet Union. Thus, the timba is a “child” of the socialist Cuban music landscape as well as a product of the rapidly changing Cuban society of the 1990s. -
Cuban Nationalism from 1920-1935: the Contextualization of Afrocuban Poetic and Musical Themes in Motivos De Son by Nicolas Guillen and Amadeo Roldan
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies Legacy Theses 1999 Cuban nationalism from 1920-1935: the contextualization of Afrocuban poetic and musical themes in Motivos de Son by Nicolas Guillen and Amadeo Roldan Oveson, Vicky Oveson, V. (1999). Cuban nationalism from 1920-1935: the contextualization of Afrocuban poetic and musical themes in Motivos de Son by Nicolas Guillen and Amadeo Roldan (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/12232 http://hdl.handle.net/1880/25227 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Cuban Nationalism from 1920-1935:The Contextualization of Afrocuban Poetic and Musical Themes in Mofiuos de Son by Nicolis Guillen and Amadeo Roldiin Vicky Oveson A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN MUSICOLOGY DEPARTMENT OF MUSIC CALGARY, ALBERTA DECEMBER 28, 1999 O Vicky Oveson, 1999 National Library Bibliotheque nationale l*! of Canada du Canada Acquisitions and Acquisitions et Bibliographic Services services bibiiographiques 395 Wellington Street 395. rue Wellington Ottawa ON K1A ON4 Ottawa ON KIA ON4 Canada Canada Your file Vone reference Our rVe Notre refdrence The author has granted a non- L'auteur a accorde une licence non exclusive licence dowing the exclusive permettant a la National Library of Canada to Bibliotheque nationale du Canada de reproduce, loan, distribute or sell reproduire, preter, distribuer ou copies of this thesis in microform, vendre des copies de cette these sous paper or electronic formats. -
The Origin and Development of Cuban Popular Music Genres And
THE ORIGIN AND DEVELOPMENT OF CUBAN POPULAR MUSIC GENRES AND THEIR INCORPORATION INTO ACADEMIC COMPOSITIONS by ALEJANDRO EDUARDOVICH FERREIRA (Under the Direction of Levon Ambartsumian) ABSTRACT In the sixteenth century, Cuba became the host of two very diverse and different cultures. Here, European and African traditions met on a neutral ground where the interchange of rhythms, melodies, and musical forms became inevitable. Over the centuries, this mutual interaction gave birth to genres such as the contradaza, danza, danzón, son, conga, habanera, güajira, criolla, and trova. Despite the fact that these genres were born as dance and popular music, their rhythms and style started to be incorporated into the most refined realm of academic compositions. The purpose of this study is to explain the origin and evolution of the above mentioned genres. Moreover, with the aid of the accompanying recording, I will explain how some Cuban composers participated in the creation and development of these genres. Furthermore, I will show how some other composers where influenced by these genres and the way in which these genres were incorporated in their compositions. INDEX WORDS: Cuban Music, Academic Cuban Compositions, Violin and Piano, Cuban Duo, contradaza, danza, danzón, son, conga, habanera, güajira, criolla, trova THE ORIGIN AND DEVELOPMENT OF CUBAN POPULAR MUSIC GENRES AND THEIR INCORPORATION INTO ACADEMIC COMPOSITIONS by ALEJANDRO EDUARDOVICH FERREIRA MASCARO B.M., Peruvian National Conservatory, Peru 1997 M.M., The University of Southern