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Del 26-2 Al 4-3.Qxp
Del 26 de febrero al 4 de marzo de 2009 VERANO 09 En el último fin de semana de “Aires CUATRO GRANDES Buenos Aires. Cultura para Respirar”, la Ciudad propone para este sábado cuatro grandes recitales gratuitos: La MOMENTOS Portuaria en Costanera Sur, Jairo cantando a Horacio Ferrer en Mataderos; Café de los Maestros, en el Planetario, y el enorme cantaor Enrique Morente en Avenida de Mayo y Perú. PÁGINAS 4, 5, 6 Y 7. sumario. Fin de fiesta [pág. 3] El cantaor granadino [pág.4] Jairo canta a Ferrer CulturaBA está AÑO 6 disponible en [pág. 5] Veinte años no es poco [pág. 6] Música, maestros / Cómo arruinar su vida y/o www.buenosaires.gov.ar, Nº 346 clickeando en “Cultura”. Revista de distribución gratuita la de los demás - El humor de Santiago Varela [pág. 7] El humor de Rep / ¿Cómo llego? del Gobierno de la Ciudad Desde allí también de Buenos Aires [pág. 8] Además: agenda de actividades, del 26 de febrero al 4 de marzo de 2009. puede imprimirse. LA ÚLTIMA MILONGA AL AIRE LIBRE Orquesta Académica del Teatro Colón. Audiciones para cubrir vacan- Música sin límites. La Dirección General de Música del Ministerio de tes en sus filas para el curso de Práctica Orquestal 2009. Director Titu- Cultura de la Ciudad organiza las siguientes actividades. lar maestro Carlos calleja. Las pruebas se realizarán hasta mañana. Una CINE Y MÚSICA EN LAS VENAS. Estudio Urbano invita a disfrutar películas vez finalizada la inscripción, la Orquesta Académica del Teatro Colón donde el ingrediente musical es el principal protagonista y que tienen, además, enviará información del horario y lugar de cada prueba por correo elec- la virtud de ser cinematográficamente bellas. -
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
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. -
Experiencing Tango in Istanbul: an Assessment from a Gender Perspective
TR YILDIZ TECHNICAL UNIVERSITY GRADUATE SCHOOL OF SOCIAL SCIENCES DEPARTMENT OF HUMANITIES AND SOCIAL SCIENCES HUMANITIES AND SOCIAL SCIENCES M.A. PROGRAMME M.A. THESIS EXPERIENCING TANGO IN ISTANBUL: AN ASSESSMENT FROM A GENDER PERSPECTIVE MELİS MERİH KILIÇ 10728003 THESIS SUPERVISOR ASST. PROF. DR. KEREM KARAOSMANOĞLU ISTANBUL 2013.. TR YILDIZ TECHNICAL UNIVERSITY GRADUATE SCHOOL OF SOCIAL SCIENCES DEPARTMENT OF HUMANITIES AND SOCIAL SCIENCES HUMANITIES AND SOCIAL SCIENCES M.A. PROGRAMME M.A. THESIS EXPERIENCING TANGO IN ISTANBUL: AN ASSESSMENT FROM A GENDER PERSPECTIVE MELİS MERİH KILIÇ 10728003 THESIS SUPERVISOR ASST. PROF. DR. KEREM KARAOSMANOĞLU ISTANBUL 2013.. ÖZ İSTANBUL’DA TANGO DENEYİMİ: TOPLUMSAL CİNSİYET PERSPEKTİFİNDEN BİR DEĞERLENDİRME Melis Merih Kılıç Ağustos, 2013 Bu tez İstanbul’daki tango dansçılarının ‘toplumsal cinsiyet’ kavramı algılarını ortaya çıkarmayı amaçlamaktadır. Özellikle, dansçıların tangodaki ‘kadın’ ve ‘erkek’ rollerine nasıl büründükleri, bu rolleri nasıl yorumladıkları ve bu role geçiş için onları ne tür faktörlerin motive ettiği araştırılmıştır. Tangoda, kadınların normalde kaçındıkları erkeğin boyunduruğu altına girme; erkeklerin ise maço olarak anılmak istemedikleri için kendilerini vazgeçmeye mecbur hissettikleri kadınlara hükmetme rollerine büründükleri varsayımıyla hareket edilmiştir. Bu varsayımı değerlendirmek için katılımcı gözlem ve sezgisel araştırma yöntemleri kullanılmıştır. Dansçıların duygu ve düşüncelerinin derinine inmek için derinlemesine mülakat yönteminden yararlanılmıştır. Elde -
Dark Tangos Books by Lewis Shiner
dark tangos books by lewis shiner novels Dark Tangos (2011) Black & White (2008) Say Goodbye (1999) Glimpses (1993) Slam (1990) Deserted Cities of the Heart (1988) Frontera (1984) collections Collected Stories (2009) Love in Vain (2001) The Edges of Things (1991) Nine Hard Questions about the Nature of the Universe (1990) dark tangos a novel by lewis shiner subterranean press 2011 © 2011 by Lewis Shiner. Interior design by Lewis Shiner Set in Bembo First edition isbn 978-1-59606-396-9 Subterranean Press PO Box 190106 Burton, MI 48519 www.subterraneanpress.com www.lewisshiner.com For Orlita: Vamos a bailar I have used «guillemets» throughout to indicate dialogue originally spoken in Spanish. A glossary of Spanish and tango terms appears at the end of the book. he first time I saw her was in the chrome and cracked- Tplaster lobby of Universal’s Buenos Aires office. From where I stood, on the other side of the glass wall that separated our servers from the noise and dirt of the city, I got an impression of power and grace from the way she held herself, saw long dark hair and a flash of gold at her ears and wrists. She was one more beautiful woman in a city full of beautiful women, and young, not much past thirty. Yet something made me look again. Maybe her nose, which was long and slightly crooked, as if it had been broken in the distant past and never properly set. She was deep in conversation with the receptionist, a young guy with a dark suit and a permanent five o’clock shadow. -
To Subscribe, Click Here — 2 —
— 1 — TO SUBSCRIBE, CLICK HERE — 2 — TO SUBSCRIBE, CLICK HERE Modern18 Tango World Athens Special Edition Editor Thanos Kasadis Table of Contents Greece Special Features Tango Acropilis Elena Gossi & Mestre Luis ............................................................ 03 An Argentine in Athens Fabian Ballejosi ......................................................... 06 Teaching Tango in Athens Theodore Georgedakis ....................................... 08 Guide to Tango in Greece ..................................................................................... 10 Maestro Fileteador Jorge Muscia ........................................................................... 18 Interview with Anibal Berraute (Tango Fusion) Marco Buso ..................... 22 Tango Sweat in Havana Urszula Przezdzik Abolik ............................................. 25 Tango Improvisation Jean-Pierre Sighe .............................................................................29 Un Tango Mas of German Kral Alexandru Eugen Cristea ............................. 32 The Tango Poetry & Literature of Rome Mario Abbatia ................................. 34 Our Advertisers ................................................................................................................. 37 New Tango Music Arndt Büssing ............................................................................... 38 Tango Moves: Parada (Sop) Raymond Lauzzana ................................................. 44 Letters to the Editor ...................................................................................................... -
The Intimate Connection of Rural and Urban Music in Argentina at the Beginning of the Twentieth Century
Swarthmore College Works Spanish Faculty Works Spanish 2018 Another Look At The History Of Tango: The Intimate Connection Of Rural And Urban Music In Argentina At The Beginning Of The Twentieth Century Julia Chindemi Vila Swarthmore College, [email protected] P. Vila Follow this and additional works at: https://works.swarthmore.edu/fac-spanish Part of the Spanish and Portuguese Language and Literature Commons Recommended Citation Julia Chindemi Vila and P. Vila. (2018). "Another Look At The History Of Tango: The Intimate Connection Of Rural And Urban Music In Argentina At The Beginning Of The Twentieth Century". Sound, Image, And National Imaginary In The Construction Of Latin/o American Identities. 39-90. https://works.swarthmore.edu/fac-spanish/119 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in Spanish Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. Chapter 2 Another Look at the History of Tango The Intimate Connection of Rural ·and Urban Music in Argentina at the Beginning of the Twentieth Century Julia Chindemi and Pablo Vila Since the late nineteenth century, popular music has actively participated in the formation of different identities in Argentine society, becoming a very relevant discourse in the production, not only of significant subjectivities, but also of emotional and affective agencies. In the imaginary of the majority of Argentines, the tango is identified as "music of the city," fundame ntally linked to the city of Buenos Aires and its neighborhoods. In this imaginary, the music of the capital of the country is distinguished from the music of the provinces (including the province of Buenos Aires), which has been called campera, musica criolla, native, folk music, etc. -
Elements of Argentine Tango a Resource Manual for Dancers
Elements of Argentine Tango A Resource Manual for Dancers http://abqtango.org 1 History of Argentine Tango by Mike Higgins When talking about the history of the Tango, the reader should consider that although there were many ‘influences’ in the creation and life of the Tango, it is very important not to assume that it was some form of linear development Whilst dances and music from around the world have had some influence, this rather detracts from the people who really created and evolved the Tango into its current form. These are the people of Buenos Aires, who in the bars, cafes and dance halls made the Tango, danced the Tango, lived, loved and occasionally died for the Tango. It is the voice of the streets of Buenos Aires. Any suggestion that they may be dancing some sort of second hand steps or regurgitating music taken from Europe or Africa must be rejected as some what insulting to all the great milongueros who have danced and innovated down though years. It is equally insulting to the great Tango maestros who have drawn on their own life experiences when composing music. Almost certainly, the most important factor in the evolution of the Tango was the influence brought in by the Habanera, created in Havana, Cuba, and also known as the Andalusian Tango. Unfortunately there is now insufficient information to assess exactly how this was originally danced. The Habanera was based on the concept of a ’walk’, the same as the Tango. At some point the Milonga and The Habanera were fused to form the embryonic version of the Tango. -
Bambuco, Tango and Bolero: Music, Identity, and Class Struggles in Medell´In, Colombia, 1930–1953
BAMBUCO, TANGO AND BOLERO: MUSIC, IDENTITY, AND CLASS STRUGGLES IN MEDELL¶IN, COLOMBIA, 1930{1953 by Carolina Santamar¶³aDelgado B.S. in Music (harpsichord), Ponti¯cia Universidad Javeriana, 1997 M.A. in Ethnomusicology, University of Pittsburgh, 2002 Submitted to the Graduate Faculty of the Department of Music in partial ful¯llment of the requirements for the degree of Doctor of Philosophy in Ethnomusicology University of Pittsburgh 2006 BAMBUCO, TANGO AND BOLERO: MUSIC, IDENTITY, AND CLASS STRUGGLES IN MEDELL¶IN, COLOMBIA, 1930{1953 Carolina Santamar¶³aDelgado, PhD University of Pittsburgh, 2006 This dissertation explores the articulation of music, identity, and class struggles in the pro- duction, reception, and consumption of sound recordings of popular music in Colombia, 1930- 1953. I analyze practices of cultural consumption involving records in Medell¶³n,Colombia's second largest city and most important industrial center at the time. The study sheds light on some of the complex connections between two simultaneous historical processes during the mid-twentieth century, mass consumption and socio-political strife. Between 1930 and 1953, Colombian society experienced the rise of mass media and mass consumption as well as the outbreak of La Violencia, a turbulent period of social and political strife. Through an analysis of written material, especially the popular press, this work illustrates the use of aesthetic judgments to establish social di®erences in terms of ethnicity, social class, and gender. Another important aspect of the dissertation focuses on the adoption of music gen- res by di®erent groups, not only to demarcate di®erences at the local level, but as a means to inscribe these groups within larger imagined communities. -
Baltic Neopolis Virtuosi Gathers the Artistic Potential of the Baltic Sea Region
Baltic Neopolis Virtuosi gathers the artistic potential of the Baltic Sea Region. Its goal is to present the most valuable phenomena and tendencies in Polish music. In 2017 the project included 5 concert tours during which the ensemble performed a series of concerts in six countries of the Baltic area: Poland, Norway, Lithuania, Estonia, Germany and Sweden. BNV concerts promote the music of Polish composers, both the prominent and well- known as well as talented young artists alongside music from the Baltic Sea Region for bigger chamber ensembles ranging from quintets to chamber orchestra. The ensemble consists of musicians of international renown sharing the passion of chamber music. It consists of members of Baltic Neopolis Orchestra and outstanding soloists such as Tomasz Tomaszewski, Deutsche Oper concertmaster; Emanuel Salvador – Baltic Neopolis Orchestra concertmaster; Emilia Goch Salvador – violist and founder and director of Baltic Neopolis Orchestra; Vitek Petrasek –Czech cellist, member of Epoque Quartet Prague, Paweł Jabłczyński – one of the most brilliant double bassist in Poland and Marcelo Nisinman, one of today's foremost bandoneon soloist, among others. BNV has been awarded grants by the Polish Ministry and National Heritage of Poland, Institute of Music and Dance and is co-financed by the City of Szczecin. Members: Marcelo Nisinman (Argentina) - bandoneon Emanuel Salvador (Portugal) – violin Tomasz Tomaszewski (Poland/Germany) - violin Emilia Goch Salvador (Poland) - viola Vitek Petrasek (Czech Republic) - violoncello Paweł Jabłczyński (Poland) – double bass Marcelo Nisinman Marcelo Nisinman is an Argentinian bandoneon player, composer and arranger. He studied the bandoneon with Julio Pane and composition with Guillermo Graetzer in Buenos Aires and Detlev Müller-Siemens in Basel. -
Embracing Uncertainty by Carolyn Merritt
Photo: Matthew McLaughlin Embracing Uncertainty by Carolyn Merritt In April, I wrote of my conversations with tango dancers and friends about how we are processing the absence of tango and the emergence of virtual tango events due to COVID-19. In this follow-up piece, I report on the Philadelphia Argentine Tango School’s recent Virtual Tango Festival, continued conversations with tango friends, and the potential this pause offers for reimagining tango on the other side of the pandemic. What makes life worth living? How do we plod on in limbo without the simplest comforts—beyond food, shelter, safety—of human contact and connection? Can we take meaningful steps to heal the ruptures wrought by the violence, disenfranchisement, and inequity that rob so many of these basics? Can we reimagine in order to rebuild a world where our joys are truly collective, unfettered by suffering? I’ve been told not to begin with questions. I’ve been told tango can change the world. Tango is imperfect and so am I. As time drags on and I reflect on its absence, its mysteries and its humanness loom large. Tango as dance promises little more than possibility, potential. Born of pain and sorrow, dislocation, marginalization, nostalgia, myriad beauties and violences, the dance transcends these foundations even as the themes reverberate through the mythology of its poetry, music, and history. Tango dance can yield communion, a unique means of bridging difference; these transformative moments shimmer like oases, visions of salvation that ultimately dissolve. But these sensations and their memories take root in the body and hold lessons. -
1718Studyguidemaria.Pdf
MARIA DE BUENOS AIRES A little tango opera in two parts for orchestra, narrator, and singers Texts by Horacio Ferrer | Music by Ástor Piazzolla Premiere May 8, 1968, Sala Planeta, Buenos Aires NOVEMBER 10, 11, 12, 2O17 The Noah Liff Opera Center Judy & Joe Barker | Jessica & Zach Liff Co-sponsors Directed by John Hoomes Conducted by Dean Williamson Featuring the Nashville Opera Orchestra CAST Maria Cassandra Velesco* El Payador Luis Alejandro Orozco* El Duende Luis Ledesma* Tango Axis Mariela Barufaldi* Jeremías Massera* The Girl Zazou France Gray* Sofia Viglianco* * Nashville Opera debut † Former Mary Ragland Young Artist TICKETS & INFORMATION Contact Nashville Opera at 615.832.5242 or visit nashvilleopera.org. Study Guide Contributors Anna Young, Education Director Cara Schneider, Creative Director THE JUDY & NOAH SUE & EARL LIFF FOUNDATION SWENSSON THE STORY Ástor Piazzolla’s tango opera, Maria de Buenos Aires, premiered on May 8, 1968, in Sala Planeta, Buenos Aires. The seductive quality of nuevo tango and the bandoneon play such an important role, they embody a central character in the story. Some say that the opera is a metaphor for tango and the city of Buenos Aires, with Maria herself being the personification of the tango. The surrealist plot is conveyed with the words of a narrator character and poet, El Payador, and his antithesis El Duende, an Argentinian goblin-spirit from South American mythology whose powers cause the loss of innocence. The opera, separated into two parts, first tells the story of the young Maria, her struggles on earth, and ultimate demise. The libretto states she “was born on the day God was drunk.” In the second part of the opera, we explore her existence as “Shadow Maria,” experiencing the dark underworld of Buenos Aires.