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Lila Downs LA CANTINA “Entre Copa Y Copa...”
Lila Downs LA CANTINA “entre copa y copa...” Exploring and expressing Mexico's rich culture has been a lifelong passion for Lila Downs. La Cantina: “Entre Copa y Copa...” marks a unique turn in her career path, as she focuses intently on the rich and familiar repertoire of Mexico's beloved cancion ranchera tradition. The cancion ranchera is typically a ballad about heartache, solitude, love and longing — a song such as one would typically hear in a local cantina. It is a musical tradition quite akin to Portugal’s fado, or to the Delta blues — deeply soulful, often lamenting, always emotionally vivid. Downs and her partner, multi-instrumentalist Paul Cohen reflect, “Our new album brings out smiles and complicity from every person in the audience. After all, who doesn't like to go out to a bar, have some drinks and cry to your favorite songs?.... Well, maybe not everyone cries, but we can all remember — as we say in Spanish: ‘I'm not crying. It’s that cigarette smoke making my eyes burn....’" Special guest Flaco Jimenez, the legendary Tejano accordionist, brings his rootsy norteño sound to the mix. In the hands of Lila and her band, this historic repertoire is handled with a hip, contemporary edge that surely draws from her residency in the great melting pot of New York City in recent years — a world away from her dual upbringing in Minnesota and the Sierra Madre mountains of Oaxaca. Living in such varied environments, Downs took after her mother’s stage career by singing mariachi tunes at age 8. -
Bacalao Bio.Pages
MEMBERS: Pablo Estacio, voice and bass Julio Andrade, sax, wind controller, backing vocals Germán Quintero, drums, backing vocals Luis González, guitar Rolando González, samples, electronic, percussion, coros DOWNLOADS: High-res Images | Band Logo Technical Rider Stage Layout NEW ALBUM SANGRE ¡SONGO, PSICODELIA Y RELEASE DATE: MAY 2018 CONNECT WITH US: bacalaomen.com BUGALÚ! Spotify | YouTube instagram.com/bacalaomen facebook.com/bacalaomen Booking: [email protected] ABOUT Bacalao Men was born in Caracas in 1999, when Pablo Estacio asked two musician friends to form a songo band. The group first featured Sebastián Araujo on drums, Aurelio Martínez on sax, and Pablo Estacio on bass and vocal. Within the first jam sessions, the musical structures and atmosphere that would give Bacalao its essence began to emerge, with its intelligent lyrics, afrolatin beats with jolts of funk, hip hop and electronic. The formation soon was enriched with the integration of DJ Hernia; Vladimir Rivero, Caracas’ legendary salsa percussionist, and Rafael Gómez, former guitarist of Lapamariposa and currently performing with Lila Downs. With its new members, and an undeniably original repertoire, Bacalao embarked on its first era of concerts in different Caracas venues and all throughout Venezuela, quickly generating a buzz about its indisputably new yet familiar sound. El Nuevo Bugalú (2005) was its second album, also produced independently. El Nuevo Bugalú concentrated on small chronicles told by song, and with it, the group expanded its sounds characterized by the use of native semantics of the city of Caracas, religion, love, and stress. From this second album came the group’s hits Malibu and El Comegente, a cheeky chronicle that relates the life of Dorángel Vargas, a cannibal who devoured over a dozen people in the 90’s.Through El Nuevo Bugalú, Bacalao was awarded Best Album of the Year, Best Song (El Comegente) and Best Production (Bacalao Men) by Venezuela’s Foundation of New Bands (Fundación Nuevas Bandas). -
Media and Social Media Links
Booking Contact: Tonatl Music LLC [email protected] Cel: 503‐496‐2075 Edna Vazquez is fearless singer, songwriter and guitarist whose powerful voice and musical talent embrujan and transcend the boundaries of language to engage and uplift her audience. She is a creative crisol with a vocal range that allows her to paint seamlessly with her original material, an intersection of folk, rock, pop and R&B. Edna’s passion for music and performance grew from her bicultural raices and, with songs deeply rooted in universal human emotion, she has traveled far and wide spreading her message of light, love and cultural healing. Media and Social Media Links www.ednavazquez.com www.ednavazquez.com/video www.facebook.com/ednavazquezmusic www.ednavazquez.bandcamp.com www.youtube.com/ednavazquezmusic www.youtube.com/watch?v=JfxxfwV‐_K8 www.youtube.com/watch?v=RDORJNv2IOk&t=3288s Edna is currently performing Solo and with her band in support of her most recent release, Sola Soy, and writing new music for an album to be released in 2019. The Edna Vazquez Band features William Seiji Marsh on lead guitar (Lost Lander, Cherry Poppin Daddies), Gil Assayas on keys (GLASYS), Milo Fultz on bass and upright bass 3 Leg Torso, and Jesse Brooke on drums and percussion (Trio Subtonic). “Extraordinarily talented” ‐ Hungton Post “Her powerful voice is the centerpiece of whatever she does” ‐ Willamette Week “Completely original and wildly inventive” ‐ Next Northwest Venues Edna has performed: Lincoln Center, The Kennedy Center Millenium Stage, MGM Grand (Latin Grammy -
Graduate Commencement Ceremony 2020.Indd
Graduate Commencement Ceremony Saturday, July 11, 2020 20 6:00pm CET 20 Order of Events Call to Order and Commencement Greetings María Martínez Iturriaga Executive Director, Valencia Campus Greetings from President Roger H. Brown Roger H. Brown President Greetings from the Senior Vice President for Academic Affairs Lawrence J. Simpson Senior Vice President for Academic Affairs Provost Interim Dean of Academic Affairs / Faculty Speaker Jeanine Cowen Interim Dean of Academic Affairs Student Speaker Sharon Onyango-Obbo Degree Candidate, M.M. in Music Production Technology Innovation Nairobi, Kenya Video Salute to the Class of 2020 Presentation of the Honorary Degree of Doctor of Music Lila Downs Tribute Performance “La Cumbia Del Mole” Commencement Speaker Lila Downs Graduate Student Awards and Conferral of Degrees, Class of 2020 Magdalini Giannikou Program Director, Master of Music in Contemporary Performance (Production Concentration) Emilien Moyon Program Director, Master of Arts in Global Entertainment and Music Business Pablo Munguía Program Director, Master of Music in Music Production, Technology, and Innovation Lucio Godoy Program Director, Master of Music in Scoring for Film, Television, and Video Games Introduction of Candidates Catalina Millán Assistant Professor, Liberal Arts Department Pete Dyson Associate Professor, Global Entertainment and Music Business Processional and Recessional Talon - Abøn Together- Tati Rabell Like You Are - Delia Joyce Changes - Celestine & Earlybird Strange Bulería - Alba Haro Up High - Jimena Wu -
COPLAND, CHÁVEZ, and PAN-AMERICANISM by Candice
Blurring the Border: Copland, Chávez, and Pan-Americanism Item Type text; Electronic Thesis Authors Sierra, Candice Priscilla 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, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 23:10:39 Link to Item http://hdl.handle.net/10150/634377 BLURRING THE BORDER: COPLAND, CHÁVEZ, AND PAN-AMERICANISM by Candice Priscilla Sierra ________________________________ Copyright © Candice Priscilla Sierra 2019 A Thesis Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 2019 3 TABLE OF CONTENTS List of Musical Examples ……...……………………………………………………………… 4 Abstract………………...……………………………………………………………….……... 5 Introduction……………………………………………………………………………………. 6 Chapter 1: Setting the Stage: Similarities in Upbringing and Early Education……………… 11 Chapter 2: Pan-American Identity and the Departure From European Traditions…………... 22 Chapter 3: A Populist Approach to Politics, Music, and the Working Class……………....… 39 Chapter 4: Latin American Impressions: Folk Song, Mexicanidad, and Copland’s New Career Paths………………………………………………………….…. 53 Chapter 5: Musical Aesthetics and Comparisons…………………………………………...... 64 Conclusion……………………………………………………………………………………. 82 Bibliography………………………………………………………………………………….. 85 4 LIST OF MUSICAL EXAMPLES Example 1. Chávez, Sinfonía India (1935–1936), r17-1 to r18+3……………………………... 69 Example 2. Copland, Three Latin American Sketches: No. 3, Danza de Jalisco (1959–1972), r180+4 to r180+8……………………………………………………………………...... 70 Example 3. Chávez, Sinfonía India (1935–1936), r79-2 to r80+1…………………………….. -
Mexican Sentimiento and Gender Politics A
UNIVERSITY OF CALIFORNIA Los Angeles Corporealities of Feeling: Mexican Sentimiento and Gender Politics A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Lorena Alvarado 2012 © Copyright by Lorena Alvarado 2012 ABSTRACT OF THE DISSERTATION Corporealities of Feeling: Mexican Sentimiento and Gender Politics by Lorena Alvarado Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2011 Professor Alicia Arrizón, co-chair Professor Susan Leigh Foster, co-chair This dissertation examines the cultural and political significance of sentimiento, the emotionally charged delivery of song in ranchera genre musical performance. Briefly stated, sentimiento entails a singer’s fervent portrayal of emotions, including heartache, yearning, and hope, a skillfully achieved depiction that incites extraordinary communication between artist and audience. Adopting a feminist perspective, my work is attentive to the elements of nationalism, gender and sexuality connected to the performance of sentimiento, especially considering the genre’s historic association with patriotism and hypermasculinity. I trace the logic that associates representations of feeling with nation-based pathology and feminine emotional excess and deposits this stigmatized surplus of affect onto the singing body, particularly that of the mexicana female singing body. In this context, sentimiento is represented in film, promotional material, and other mediating devices as a bodily inscription of personal and gendered tragedy, ii as the manifestation of exotic suffering, or as an ancestral and racial condition of melancholy. I examine the work of three ranchera performers that corroborate these claims: Lucha Reyes (1906-1944), Chavela Vargas (1919) and Lila Downs (1964). -
The Inventory of the Phyllis Curtin Collection #1247
The Inventory of the Phyllis Curtin Collection #1247 Howard Gotlieb Archival Research Center Phyllis Curtin - Box 1 Folder# Title: Photographs Folder# F3 Clothes by Worth of Paris (1900) Brooklyn Academy F3 F4 P.C. recording F4 F7 P. C. concert version Rosenkavalier Philadelphia F7 FS P.C. with Russell Stanger· FS F9 P.C. with Robert Shaw F9 FIO P.C. with Ned Rorem Fl0 F11 P.C. with Gerald Moore Fl I F12 P.C. with Andre Kostelanetz (Promenade Concerts) F12 F13 P.C. with Carlylse Floyd F13 F14 P.C. with Family (photo of Cooke photographing Phyllis) FI4 FIS P.C. with Ryan Edwards (Pianist) FIS F16 P.C. with Aaron Copland (televised from P.C. 's home - Dickinson Songs) F16 F17 P.C. with Leonard Bernstein Fl 7 F18 Concert rehearsals Fl8 FIS - Gunther Schuller Fl 8 FIS -Leontyne Price in Vienna FIS F18 -others F18 F19 P.C. with hairdresser Nina Lawson (good backstage photo) FI9 F20 P.C. with Darius Milhaud F20 F21 P.C. with Composers & Conductors F21 F21 -Eugene Ormandy F21 F21 -Benjamin Britten - Premiere War Requiem F2I F22 P.C. at White House (Fords) F22 F23 P.C. teaching (Yale) F23 F25 P.C. in Tel Aviv and U.N. F25 F26 P. C. teaching (Tanglewood) F26 F27 P. C. in Sydney, Australia - Construction of Opera House F27 F2S P.C. in Ipswich in Rehearsal (Castle Hill?) F2S F28 -P.C. in Hamburg (large photo) F2S F30 P.C. in Hamburg (Strauss I00th anniversary) F30 F31 P. C. in Munich - German TV F31 F32 P.C. -
The Function of Music in Sound Film
THE FUNCTION OF MUSIC IN SOUND FILM By MARIAN HANNAH WINTER o MANY the most interesting domain of functional music is the sound film, yet the literature on it includes only one major work—Kurt London's "Film Music" (1936), a general history that contains much useful information, but unfortunately omits vital material on French and German avant-garde film music as well as on film music of the Russians and Americans. Carlos Chavez provides a stimulating forecast of sound-film possibilities in "Toward a New Music" (1937). Two short chapters by V. I. Pudovkin in his "Film Technique" (1933) are brilliant theoretical treatises by one of the foremost figures in cinema. There is an ex- tensive periodical literature, ranging from considered expositions of the composer's function in film production to brief cultist mani- festos. Early movies were essentially action in a simplified, super- heroic style. For these films an emotional index of familiar music was compiled by the lone pianist who was musical director and performer. As motion-picture output expanded, demands on the pianist became more complex; a logical development was the com- pilation of musical themes for love, grief, hate, pursuit, and other cinematic fundamentals, in a volume from which the pianist might assemble any accompaniment, supplying a few modulations for transition from one theme to another. Most notable of the collec- tions was the Kinotek of Giuseppe Becce: A standard work of the kind in the United States was Erno Rapee's "Motion Picture Moods". During the early years of motion pictures in America few original film scores were composed: D. -
Collective Difference: the Pan-American Association of Composers and Pan- American Ideology in Music, 1925-1945 Stephanie N
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Collective Difference: The Pan-American Association of Composers and Pan- American Ideology in Music, 1925-1945 Stephanie N. Stallings Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC COLLECTIVE DIFFERENCE: THE PAN-AMERICAN ASSOCIATION OF COMPOSERS AND PAN-AMERICAN IDEOLOGY IN MUSIC, 1925-1945 By STEPHANIE N. STALLINGS A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2009 Copyright © 2009 Stephanie N. Stallings All Rights Reserved The members of the Committee approve the Dissertation of Stephanie N. Stallings defended on April 20, 2009. ______________________________ Denise Von Glahn Professor Directing Dissertation ______________________________ Evan Jones Outside Committee Member ______________________________ Charles Brewer Committee Member ______________________________ Douglass Seaton Committee Member The Graduate School has verified and approved the above named committee members. ii ACKNOWLEDGMENTS I would like to express my warmest thanks to my dissertation advisor, Denise Von Glahn. Without her excellent guidance, steadfast moral support, thoughtfulness, and creativity, this dissertation never would have come to fruition. I am also grateful to the rest of my dissertation committee, Charles Brewer, Evan Jones, and Douglass Seaton, for their wisdom. Similarly, each member of the Musicology faculty at Florida State University has provided me with a different model for scholarly excellence in “capital M Musicology.” The FSU Society for Musicology has been a wonderful support system throughout my tenure at Florida State. -
The American Stravinsky
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE THE AMERICAN STRAVINSKY THE AMERICAN STRAVINSKY The Style and Aesthetics of Copland’s New American Music, the Early Works, 1921–1938 Gayle Murchison THE UNIVERSITY OF MICHIGAN PRESS :: ANN ARBOR TO THE MEMORY OF MY MOTHERS :: Beulah McQueen Murchison and Earnestine Arnette Copyright © by the University of Michigan 2012 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America ϱ Printed on acid-free paper 2015 2014 2013 2012 4321 A CIP catalog record for this book is available from the British Library. ISBN 978-0-472-09984-9 Publication of this book was supported by a grant from the H. Earle Johnson Fund of the Society for American Music. “Excellence in all endeavors” “Smile in the face of adversity . and never give up!” Acknowledgments Hoc opus, hic labor est. I stand on the shoulders of those who have come before. Over the past forty years family, friends, professors, teachers, colleagues, eminent scholars, students, and just plain folk have taught me much of what you read in these pages. And the Creator has given me the wherewithal to ex- ecute what is now before you. First, I could not have completed research without the assistance of the staff at various libraries. -
Gershwin, Copland, Lecuoña, Chávez, and Revueltas
Latin Dance-Rhythm Influences in Early Twentieth Century American Music: Gershwin, Copland, Lecuoña, Chávez, and Revueltas Mariesse Oualline Samuels Herrera Elementary School INTRODUCTION In June 2003, the U. S. Census Bureau released new statistics. The Latino group in the United States had grown officially to be the country’s largest minority at 38.8 million, exceeding African Americans by approximately 2.2 million. The student profile of the school where I teach (Herrera Elementary, Houston Independent School District) is 96% Hispanic, 3% Anglo, and 1% African-American. Since many of the Hispanic students are often immigrants from Mexico or Central America, or children of immigrants, finding the common ground between American music and the music of their indigenous countries is often a first step towards establishing a positive learning relationship. With this unit, I aim to introduce students to a few works by Gershwin and Copland that establish connections with Latin American music and to compare these to the works of Latin American composers. All of them have blended the European symphonic styles with indigenous folk music, creating a new strand of world music. The topic of Latin dance influences at first brought to mind Mexico and mariachi ensembles, probably because in South Texas, we hear Mexican folk music in neighborhood restaurants, at weddings and birthday parties, at political events, and even at the airports. Whether it is a trio of guitars, a group of folkloric dancers, or a full mariachi band, the Mexican folk music tradition is part of the Tex-Mex cultural blend. The same holds true in New Mexico, Arizona, and California. -
Survival & Lila Downs
NavaBello1 Jennifer Nava Bello English 122/Section Miss French February 21, 2011 Powerful Music: Survival & Lila Downs The banquet hall was filled with the deafening chatter of excited Latinos. The opening act began to play traditional Cumbia, which is a Latin style genre “played on drums, flutes and percussion instruments of African and indigenous origins” (Mauleon). As the music began filling the hot air with deafening sounds of crash symbols and singing Latinos, my mouth filled with distaste. Young teenage girls began to dance in front of a small stage. I rolled my eyes, the music was awful. I sat close to my husband and wondered how he was able to drag me to this event. Little did I know, this event would become a significant turning point in my life. Finally, the opening band performed their last song and my ears felt relief. As we took our seats on icy metal chairs, I watched as the young teenage girls and their families took their seats with an intense amount of anticipation. They stared at the empty stage like giddy school children. We were part of a Quinceanera that was open to the paying public. The Quinceanera, a party for a young Latina girl turning fifteen, was a dual event featuring a concert performed by Lila Downs. I knew nothing of her, until the woman sitting next to me informed me that Lila Downs performed in Frida, a motion picture about the life of Frida Kahlo. Who is Frida Kahlo? I thought to myself. I focused my attention on the decorative shawl wrapped around this odd woman.