Efrén Suárez
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Go Forbaroque Program This Evening's Guest Artists
The Plantation Foundation Meet the presents Jacksonville Symphony Orchestra String Quintet Melissa Pierson Barrett, violin, Associate Concertmaster of the JSO since 1990, is also a chamber musician with Chamber Music Hilton Head. She has also played with the Houston Grand Opera, Savannah Symphony Orchestra and at the Aspen, Boulder, Lake George Opera, Sandpoint, Banff, and Sarasota summer festivals Annie Morris, violin, a member of JSO since 1990, has played with the New World, Charleston, Savannah, and Delaware Symphonies, the Philharmonic Orchestra of Florida, Naples Philharmonic, Texas Opera Theater, and the Houston Grand Opera. GoMUSIC forBaroque SOIREE AND BACHTAIL PARTY Summer performances include the Lancaster, Spoleto Festival (US and Italy), Aims, and Heidelberg festivals. Colin Kiely, viola, a member the JSO since 1996 and Acting Assistant Principal Viola in 2006, has performed with the Miami String Quartet and was featured in the University of North Florida’s “Music For Our Time” program . He has performed in Carnegie Hall, Avery Fischer Hall, the Kennedy Center, and at Teatro Colon. Betsy Federman, cello, a JSO member since 1994, has previously played with the New World Symphony, the Naples Philharmonic, and at the Aspen Music Festival, the Colorado Music Festival and the Utah Festival Opera. Baroque Music John Wieland, bass, has been a member of the Jacksonville Symphony Orchestra for Harpsichord, since 1989. John has performed with numerous orchestras as principal bass, Recorder, Guitar including the Virginia Symphony, Oklahoma Symphony, Orquestra Sinfonia de Mineria, and the Colorado Music Festival. He has also been a faculty member at and String Quintet. Stetson University since 1995. -
THE INVENTION of the NATIONAL in VENEZUELAN ART MUSIC, 1920-1960 by Pedro Rafael Aponte Licenciatura En Música, Instituto Univ
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by D-Scholarship@Pitt THE INVENTION OF THE NATIONAL IN VENEZUELAN ART MUSIC, 1920-1960 by Pedro Rafael Aponte Licenciatura en Música, Instituto Universitario de Estudios Musicales, 1995 M.M., James Madison University, 1997 M.A., University of Pittsburgh, 2004 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2008 UNIVERSITY OF PITTSBURGH SCHOOL OF MUSIC This dissertation was presented by Pedro Rafael Aponte It was defended on October 27, 2008 and approved by Dr. Deane Root, Professor of Music Dr. Don Franklin, Professor of Music Dr. Mary Lewis, Professor of Music Dr. Joshua Lund, Associate Professor of Hispanic Languages and Literature Dissertation Advisor: Dr. Deane Root, Professor of Music ii Copyright © by Pedro Rafael Aponte 2008 iii THE INVENTION OF THE NATIONAL IN VENEZUELAN ART MUSIC, 1920-1960 Pedro Rafael Aponte, Doctor of Philosophy University of Pittsburgh, 2008 This dissertation explores the developments of art music in Venezuela during the first half of the twentieth century as an exercise in nation building. It argues that beginning in the early 1920s a nationalist movement in music emerged, which was not only determined by but also determinant in the construction of a concept of nationhood. The movement took place at a crucial time when the country had entered a process of economic transformation. The shift in Venezuela’s economic system from agrarian to industrial in the 1910s triggered a reconfiguration of the country’s social and cultural structures. -
Universidad Católica Andrés Bello Facultad De Humanidades Y Educación Escuela De Comunicación Social Mención Artes Audiovisuales Trabajo De Grado
UNIVERSIDAD CATÓLICA ANDRÉS BELLO FACULTAD DE HUMANIDADES Y EDUCACIÓN ESCUELA DE COMUNICACIÓN SOCIAL MENCIÓN ARTES AUDIOVISUALES TRABAJO DE GRADO NATIVO Y UNIVERSAL: RETRATO DE ALIRIO DÍAZ Tesistas DANELLI, Katy ROJAS, Diego VILLEGAS, Lizmari Tutor CASTILLO, JORGE ANDRÉS Caracas, septiembre 2013 Formato G: Planilla de evaluación Fecha: _______________ Escuela de Comunicación Social Universidad Católica Andrés Bello En nuestro carácter de Jurado Examinador del Trabajo de Grado titulado: ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ dejamos constancia de que una vez revisado y sometido éste a presentación y evaluación, se le otorga la siguiente calificación: Calificación Final: En números____________ En letras:_______________________ Observaciones__________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ Nombre: __________________ __________________ ___________________ Presidente del Jurado Tutor Jurado Firma: __________________ __________________ ___________________ Presidente del Jurado Tutor Jurado A Venezuela por regalarle al mundo entero el esplendor de sus tradiciones y a Carora por brindarnos -
Barbosa Lima Prog
OUR COMPOSERS to “La Reina”, of all contradanzas a rhythm not Caracas where he studied violin, piano and compo- begun to play the guitar as a boy, training that well developed in the popular music of Venezuela, sition, but on hearing Agustín Barrios Mangoré in allowed him to improvise at an early age. Later he its style being very similar to el danzón cubano. concert he decided to concentrate on the guitar went to Caracas and was under the supervision of Amable Torres wrote other songs such as, El instead. In 1933 he studied with Raúl Borges, who Raúl Borges at the Escuela de Música y Macaurel, Pan de Casabe and El Piragüero. introduced him to the traditional classical guitar. Declamación. He perfiled as a promising guitar con- But he was influenced by Vicente Emilio Sojo in the certist who belonged to the same generation of PORRO use of certain dissonant harmonies in the same way Alírio Díaz; by 1951 he travelled to Spain where he GENTIL MONTAÑA (b. 1942) that he himself did in his Misa Cromática, where finished his studies at the Real Conservatorio de He is a guitarist and virtuoso-composer inspired by Sojo respected the liturgical character and the mass Madrid. He stayed in Spain for a while and decided folklore of his native Colombia, his father played ceremony as such, even when he used a great deal to gain experience in the United States where he folk music on the violin and managed to support the of polytonality. Other influences in Lauro’s life gave his first concert in New York around 1962; to family; in 1953 they moved from Ibagué to Bogotá. -
James F. Condell Collection Finding Aid (PDF)
University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION TABLE OF CONTENTS Biographical Sketch …………………………………………………………………… 2 Scope and Content …………………………………………………………………… 4 Series Notes …………………………………………………………………………… 4 Series I: Radio Station Material …………………………………………………… 7 Series II: Music Scores …………………………………………………………… 7 Series III: Jay McShann Material …………………………………………………… 7 Series IV: Miscellaneous Material …………………………………………………… 9 Series V: Photographs …………………………………………………………… 9 Series VI: Memorabilia …………………………………………………………… 9 Addendum I …………………………………………………………………………… 10 Addendum I – Series I: Personal …………………………………………… 10 Addendum I – Series II: Radio …………………………………………… 10 Addendum I – Series III: Jay McShann …………………………………… 10 A. Confessin’ the Blues Drafts …………………………………… 10 B. Interviews for Confessin’ the Blues …………………………… 11 C. Research Materials …………………………………………… 11 D. Correspondences …………………………………………………… 12 E. Publication …………………………………………………………… 12 F. Miscellaneous …………………………………………………… 12 Addendum I – Series IV: Duke Ellington …………………………………… 12 A. Condell’s Writings …………………………………………………… 12 B. Research Articles …………………………………………………… 13 C. Conferences/Events …………………………………………… 14 D. Miscellaneous …………………………………………………… 15 Addendum I – Series V: Periodicals …………………………………………… 15 A. Guitar Review …………………………………………………… 15 B. Soundboard …………………………………………………… 15 C. Miscellaneous Magazines/Journals …………………………… 16 D. Newspaper and Article Clippings …………………………………… 16 Addendum I – Series -
Download Latin American Serenade CD Full-Color
LatinLatin AmericanAmerican SerenadeSerenade GreggGregg Nestor,Nestor, GuitarGuitar Carlos Lyra Baden Powell Antonio Lauro Manuel Ponce Mario Gangi João Pernambuco Laurindo Almeida Benito Canonico Rodrigo Riera Carlos Atilano Agustin Barrios Mangore Album Notes by Tom Williams AlbumAlbum ProducedProduced byby GreggGregg NestorNestor RecordedRecorded atat PenguinPenguin Recording,Recording, EagleEagle Rock,Rock, CACA BetweenBetween AprilApril andand June,June, 19911991 Engineer:Engineer: JohnJohn StrotherStrother DigitallyDigitally MasteredMastered byby JonathanJonathan Marcus,Marcus, OrpharionOrpharion RecordingsRecordings AlbumAlbum ArtArt Direction:Direction: MarkMark BanningBanning Mr.Mr. Nestor’sNestor’s GuitarGuitar byby JoséJosé Ramirez,Ramirez, 19841984 FrontFront Cover:Cover: RainbowRainbow inin thethe Mist,Mist, IguassuIguassu Falls,Falls, Argentina,Argentina, SouthSouth AmericaAmerica BackBack Cover:Cover: AngelAngel Falls,Falls, OrinocoOrinoco Basin,Basin, CanaimaCanaima NationalNational Park,Park, VenezuelaVenezuela TraycardTraycard andand CDCD Label:Label: SanSan RafaelRafael Falls,Falls, QuijosQuijos River,River, Amazon,Amazon, EcuadorEcuador he guitar music of Latin America is mythical, idyllic place; a legendary land unique, indigenous as rich and varied as the influences of peace, freedom and equality longed for musical form - the vals that have inspired it. Latin history by generations of African slaves in Brazil. venezolano, or Tis interwoven with the beauty and Venezuelan waltz. It nuance of two predominant languages -
Volume I Exegesis
Ethnoclassicism in Guitar Chamber Music A portfolio of four CD recordings and exegesis Oliver Fartach-Naini Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy VOLUME I EXEGESIS Elder Conservatorium of Music Faculty of Arts University of Adelaide September 2017 TABLE OF CONTENTS VOLUME I – EXEGESIS Tables iv Figures iv Abstract v Declaration vi Ethics approval vi Acknowledgements vii 1. INTRODUCTION 1 1.1 General Background 2 1.2 Intellectual Framework 6 1.2.1 Current general research 7 1.2.2 Current research specific to guitar 11 1.2.3 Key terms and concepts 18 2. CONTEXT 21 2.1 Historical aspects 21 2.1.1 The Colonial Guitar 22 2.1.2 Andrés Segovia’s Eurocentric Guitar 25 2.1.3 The seeds of Post-Segovian Eclecticism 29 2.1.4 Julian Bream and John Williams 31 2.1.5 The twentieth century classical guitar 33 2.1.6 Classical guitar in the twenty-first century 37 2.2 Related considerations 38 2.3 Chamber Music 46 3. THE MUSIC 52 3.1 Overview of repertoire 53 3.1.1 CD 1 – Canto Antigo (Credia Classics, Universal Music 2015) 53 3.1.2 CD 2 – TANGO (Ethnoclassics 2015) 54 3.1.3 CD 3 – 25 (Ethnoclassics 2016) 56 3.1.4 CD 4 – Suite Latina (Ethnoclassics 2017) 57 3.2 Case Studies 58 3.2.1 Tango 59 3.2.1.1 Astor Piazzolla 60 3.2.1.2 Coco Nelegatti 63 3.2.1.3 Máximo Diego Pujol 68 3.2.2 Jazz/Pop/Folk 77 3.2.2.1 Richard Charlton 77 3.2.2.2 Carlo Domeniconi 82 3.2.2.3 Geonyong Lee 86 3.2.2.4 Ludger Vollmer 92 4. -
Alejandro Bruzual: La Guitarra En Venezuela. Desde Sus Orígenes Hasta Nuestros Días
TRANS 17 (2013) RESEÑAS/ REVIEWS Alejandro Bruzual: La guitarra en Venezuela. Desde sus orígenes hasta nuestros días. Caracas: Banco Central de Venezuela. 2013. 385 pp. 302 ilustraciones, ISBN: 978-980- 394-073-7. Reseña de Julio Mendívil – Fundación Universidad de Hildesheim, Alemania. En Cómo se hace una tesis Umberto Eco (1993) advierte a los jóvenes estudiantes los peligros propios de temas panorámicos, aduciendo que estos se prestan fácilmente a las omisiones y requieren, por lo general, de un profundo conocimiento histórico y de agudeza crítica, dotes inusuales en el neófito. Un libro con una temática tan vasta como el que nos ofrece el venezolano Alejandro Bruzual podría despertar en el lector, desde un principio, cierta desconfianza. ¿Habrá considerado realmente todo lo que debe contener un libro que lleva tal título? La interrogante se justifica. Pero a diferencia de los estudiantes a los que se dirige el semiólogo italiano, Alejandro Bruzual no es un advenedizo. Sus señas no pueden ser mejores: Bruzual es doctor en Literaturas Latinoamericanas (2006) por la Universidad de Pittsburgh, Pensilvania. Allí Los artículos publicados en TRANS-Revista Transcultural de Música están (si no se indica lo contrario) bajo una licencia Reconocimiento-NoComercial-SinObraDerivada 2.5 España de Creative Commons. Puede copiarlos, distribuirlos y comunicarlos públicamente siempre que cite su autor y mencione en un lugar visible que ha sido tomado de TRANS agregando la dirección URL y/o un enlace a este sitio: www.sibetrans.com/trans. No utilice -
GUITAR MUSIC of VENEZUELA Carreño • Castellanos Plaza • Ruiz • González Nirse González GUITAR MUSIC of VENEZUELA in 1932 from His Home Region of Margarita Island
GUITAR MUSIC OF VENEZUELA Carreño • Castellanos Plaza • Ruiz • González Nirse González GUITAR MUSIC OF VENEZUELA in 1932 from his home region of Margarita Island. From the José Angel Lamas Conservatory, Caracas. His prolific Inocente Carreño • Evencio Castellanos • Juan Bautista Plaza 1940 he studied composition with Vicente Emilio Sojo musical output includes orchestral and electronic works as (1887–1974) and with the help of Antonio Lauro (1917– well as several concertos, choral and chamber music, Federico Ruíz • Pedro Mauricio González 1986) wrote his first solo guitar piece, the Preludio (1956). songs, and two operas. The pianist Clara Rodríguez has Venezuelan Dances of the 19th Century Evencio Castellanos (1915–1984) This became the first movement of Suite para guitarra, described his music as ‘a sophisticated synthesis of Latin ed. Vicente Emilio Sojo (1887–1974) ! Evocación (c. 1972) 2:15 published in Caracas in 1966. Suite No. 2, dedicated to American styles that among many other traits, expresses (arr. Nirse González) @ Homenaje a Antonio Lauro (1959) 2:31 Lauro, was written when the composer was an adviser in the the subtle interface between the classical and popular Venezuelan Delegation for UNESCO in Paris. Serenata, music of the continent’. Carlos Silva Juan Bautista Plaza (1898–1965) 1 El Guarenero 1:52 the second movement of the suite, was originally written Pieza Numero Uno (‘Piece Number One’) (1970), in the Obras para guitarra (1937–1954) 12:21 for guitar and voice. style of the joropo, features jazz elements as well as a Blas María Tovar # I. Homenaje a los Vihuelistas (1937) 2:17 Evencio Castellanos (1915–1984) pianist and organist, central section of characteristic Venezuelan rhythms 2 Danza venezolana 1:22 $ II. -
2021 LASP Classical Guitar Youth Competition: Guidelines and Judging Procedures
2021 LASP Classical Guitar Youth Competition: Guidelines and Judging Procedures Youth Competition Fee ● Registration fee is $30 per participant, payment is due in full at the time of registration ● Includes admission to the competition, master class, workshops, and one student admission ticket to the Virtual Festival Concert ● Parents and family members must purchase their concert tickets online. Register online at ● Video Application deadline is: February 13, 2021 ● To request a registration waiver, please email Jone Ruiz at [email protected]. Competition Information ● Video Submission Deadline: Saturday, February 13, 2021, at 11:59 p.m. CST ● Place: Online ● Age limit: Youth ages 8-18 – Younger students who meet the technical requirements are welcome. Intermediate and Advanced Levels will be decided by repertoire selection. Selections should reflect the number of years a student has been playing. ● Award ceremony: Awards will be announced at our virtual concert on Saturday, February 27, 2021 ● All youth competitors will receive a participation certificate ● First place winners will be featured soloists, opening for the guest artists. ● All participants will take part in a variety of virtual workshops and master classes designed specifically for the festival. ● **Parents- please plan to have your child be part of the Master Classes on February 20. Please do not make other plans during that day. This will allow all participants to gain the full benefits of the Festival. Competition Guidelines ● ALL PARTICIPANTS MUST PERFORM ON A NYLON STRING CLASSICAL GUITAR ● All pieces to be performed from memory ● There will be only one round ● First Prize winners from Intermediate and Advanced levels will be featured in the Virtual Guitar Festival Concert ● The judges reserve the right to withhold First Prize should the level not be met ● All decisions by the judges are final Video Submission Guidelines • Submitting video guidelines Video Title a.