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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. -
Mark Tompkins, Chez Qui La Voix Est Centrale
CN D P R I N - T E M P S 2 0 1 8 Centre national de la danse Réservations et informations pratiques + 33 (0)1 41 83 98 98 cnd.fr 1 2 JE NE REVIENS PAS, JE VIENS Pour peu que l’on ne s’allonge pas sous les images, chacune, chacun d’entre nous, du laboratoire à l’usine, du prétoire au spectacle vivant, du divan au concert, du cinéma à la consultation, du livre à l’autre, de l’école à la rue, pensons et agissons selon « je ne reviens pas, je viens » (Mahmoud Darwich). Pour en sortir essayons tout. Rassemblons audacieusement et courageusement. Il ne s’agit pas de se clore dans un assemblement mais de vivre ensemble conflictuellement sans doute avec des contradictions évolutives pour fabriquer les processus qui mèneront progressivement en arrachant le chiendent de l’ignorance de l’autre, vers une harmonie sans cesse à accorder. C’est Scott Fitzgerald qui écrivait : « La marque d’une intelligence de premier plan est qu’elle est capable de se fixer sur deux idées contradictoires sans pour autant perdre la possibilité de fonctionner. On devrait par exemple pouvoir comprendre que les choses sont sans espoir et cependant être décidé à les changer. » Jack Ralite (1928-2017) Ce n’est qu’un début (extrait), in Culture Publique, opus 1 « L’Imagination au pouvoir », Paris, éditions (mouvement) SKITe sens&tonka, 2004. 3 Interpréter, transformer La notion d’interprète constitue le fil rouge de la programmation de ce printemps : dans quel sens interpréter ce terme aujourd’hui dans le Entretien avec Aymar Crosnier, champ chorégraphique ? Et comment est-ce directeur général adjoint en qu’il se déploie dans la programmation ? charge de la programmation Progressivement, se met en place une forme Par Gilles Amalvi de périodicité dans la programmation au CN D. -
The Queer Tango Salon 2017: Dancers Who Think and Thinkers Who Dance
Kent Academic Repository Full text document (pdf) Citation for published version Roser i Puig, Montserrat (2018) Authentic by Choice, or by Chance? A Discussion of The Gods of Tango, by Carolina de Robertis. In: Batchelor, Ray and Havmøller, Birthe, eds. Queer Tango Salon Lonson 2017 Proceedings. Queer Tango Project, London, UK, pp. 70-81. DOI Link to record in KAR https://kar.kent.ac.uk/79016/ Document Version Publisher pdf Copyright & reuse Content in the Kent Academic Repository is made available for research purposes. Unless otherwise stated all content is protected by copyright and in the absence of an open licence (eg Creative Commons), permissions for further reuse of content should be sought from the publisher, author or other copyright holder. Versions of research The version in the Kent Academic Repository may differ from the final published version. Users are advised to check http://kar.kent.ac.uk for the status of the paper. Users should always cite the published version of record. Enquiries For any further enquiries regarding the licence status of this document, please contact: [email protected] If you believe this document infringes copyright then please contact the KAR admin team with the take-down information provided at http://kar.kent.ac.uk/contact.html Queer Tango Salon London 2017 Proceedings A Queer Tango Project Publication Colophon and Copyright Statement Queer Tango Salon London 2017 - Proceedings Selection and editorial matter © 2018 Ray Batchelor and Birthe Havmøller Written materials © 2018 the individual authors All images and artworks © 2018 the individual artists and photographers This is a Queer Tango Project Publication. -
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. -
Construction D'une Identité Argentine Dans Les Paroles De Tango: Genèse Et Formes Contemporaines
Construction d’une identité argentine dans les paroles de tango : genèse et formes contemporaines Gabriela Constanza Rodriguez To cite this version: Gabriela Constanza Rodriguez. Construction d’une identité argentine dans les paroles de tango : genèse et formes contemporaines. Histoire. Université Toulouse le Mirail - Toulouse II, 2011. Français. NNT : 2011TOU20081. tel-00640819 HAL Id: tel-00640819 https://tel.archives-ouvertes.fr/tel-00640819 Submitted on 14 Nov 2011 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Université Toulouse Le Mirail Institut de Recherche Intersite Etudes Culturelles (EA 740) Ecole doctorale Alpha PAR GABRIELA C. RODRIGUEZ CONSTRUCTION D’UNE IDENTITÉ DANS LES PAROLES DE TANGO : GENÈSE ET FORMES CONTEMPORAINES ANNÉE 2010-2011 Sous la direction de Michèle Soriano Université Toulouse Le Mirail Nadia Norah Ghiraldi-Dei Cas Universi té de Lille (Rapporteure) Dardo Scavino Université Versailles Sain-Quentin (Rapporteur) Edmond Cros Université Paul-Valéry Montpellier III Sonia Rosse Université Toulouse Le Mirail 1 Remerciements ŖEl ciclo se ha cerrado. La búsqueda de la identidad es aquí une búsqueda de pasado. Sin embargo, ese hijo de inmigrantes que regresa al espacio de los antepasados, regresa a un espacio que no es suyo: el espacio de una memoria ajena, siempre huidizo.ŗ Rosalba Campra. -
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. -
Radio France. France Inter. Archives Papier Des Émissions De Patrice Gélinet « Les Jours Du Siècle » (1996-1999) Et « 2000 Ans D'histoire » (1999-2011)
Radio France. France Inter. Archives papier des émissions de Patrice Gélinet « Les jours du siècle » (1996-1999) et « 2000 ans d'histoire » (1999-2011). 1996-2011 Répertoire numérique détaillé du versement n° 20144583 Établi par Anne Briqueler, Service Archives écrites et Musée - Direction générale déléguée - Radio France Première édition électronique Archives nationales (France) Pierrefitte-sur-Seine 2014 1 https://www.siv.archives-nationales.culture.gouv.fr/siv/IR/FRAN_IR_055856 Cet instrument de recherche a été rédigé avec un logiciel de traitement de texte. Ce document est écrit en français. Conforme à la norme ISAD(G) et aux règles d'application de la DTD EAD (version 2002) aux Archives nationales, il a reçu le visa du Service interministériel des Archives de France le ..... 2 Archives nationales (France) Sommaire Radio France. France Inter. Archives papier des émissions de Patrice Gélinet « Les 9 Jours du siècle » (1996-1999) et « 2000 ans d'histoire » ... Les Jours du siècle 12 Dossiers d'émissions par saison radiophonique 12 Saison 1996-1997 12 1996, semaines 36 à 38 12 1996, semaines 39 à 41 13 1996, semaines 42 à 44 13 1996, semaines 45 à 47 14 1996, semaines 48 à 52 15 1997, semaines 1 à 3 16 1997, semaines 4 à 6 16 1997, semaines 7 à 9 17 1997, semaines 10 à 12 18 1997, semaines 13 à 17 18 1997, semaines 18 à 23 19 1997, semaines 24 à 27 20 Saison 1997-1998 21 1997, semaines 36 à 38 21 1997, semaines 39 à 41 22 1997, semaines 42 à 44 22 1997, semaines 45 à 48 23 1997, semaines 49 à 52 24 1998, semaines 1 à 6 25 1998, semaines -
(S-0278/15) PROYECTO DE DECLARACIÓN El Senado De La
“2015 ‐ Año del Bicentenario del Congreso de los Pueblos Libres” Senado de la Nación Secretaría Parlamentaria Dirección General de Publicaciones (S-0278/15) PROYECTO DE DECLARACIÓN El Senado de la Nación DECLARA Su profundo pesar por el fallecimiento del pianista, director de orquesta y compositor de tangos, Osvaldo BERLINGIERI, ocurrido el 8 de febrero de 2015, en la Ciudad de Buenos Aires, a los ochenta y seis años. Eugenio J. Artaza. FUNDAMENTOS Señor Presidente: El pasado 8 de febrero, a la edad de ochenta y seis años, nos dejó una de las glorias de nuestro tango, Osvaldo BERLINGIERI. Pianista, director de orquesta y compositor de tango, su extensa carrera alcanzó reconocimiento mundial. Sus estudios en el conservatorio de música duraron poco tiempo, cuando decidió abandonarlo se dedicó a aprender por su cuenta siguiendo a profesionales tangueros en distintos locales. Tenía apenas 16 años cuando debutó profesionalmente como pianista en el local “Marabú” con la orquesta que acompañaba al cantor Héctor Mauré. Después de ese comienzo ya no dejó de trabajar. Entre otros conjuntos estuvo en los dirigidos por Emilio Balcarce, Roberto Caló, Joaquín Do Reyes, Domingo Federico, Lucio Milena y Héctor Varela y dirigió la orquesta que acompañó en una gira por Centroamérica al cantor Raúl Iriarte. El 24 de setiembre de 1957 comienza una nueva y fundamental etapa en su vida artística cuando se une a la orquesta de Aníbal Troilo reemplazando al pianista Osvaldo Manzi. Con Troilo estuvo hasta mayo de 1968. En ese tiempo integró el cuarteto Aníbal Troilo con “2015 ‐ Año del Bicentenario del Congreso de los Pueblos Libres” Ubaldo de Lío en guitarra eléctrica y Rafael del Bagno en contrabajo. -
1.1 Osvaldo Pugliese - Introduction
Cover Page The handle http://hdl.handle.net/1887/30110 holds various files of this Leiden University dissertation Author: Varassi Pega, Bárbara Title: Creating and re-creating tangos : artistic processes and innovations in music by Pugliese, Salgán, Piazzolla and Beytelmann Issue Date: 2014-12-11 1.1 Osvaldo Pugliese - Introduction Pianist, composer, arranger and conductor (1905–1995) Osvaldo Pugliese received his first musical education from his father, an amateur flautist who played in amateur tango quartets. He first learnt violin, like his brothers, and then studied piano in local music conservatories. As a teenager, his music accompanied silent films, his professional career beginning in a bar called “Café de la Chancha”.64 Later, he worked as a replacement musician in a number of dance orchestras and then joined the ensemble led by legendary Paquita Bernardo65, where he met violinist Elvino Vardaro, with whom he would later form the Vardaro-Pugliese sextet in 1929. The ensemble was disbanded due to lack of commercial success, but was reformed with a new line-up in 1930, including such luminaries as Alfredo Gobbi on second violin, and with Aníbal Troilo and Ciriaco Ortiz on bandoneon. By the time Pugliese assembled his own orchestra in 1939, he was already a professional pianist of renown who had collaborated with the most outstanding figures and ensembles of the time: Enrique Pollet’s66 sextet, and the orchestras conducted by Pedro Laurenz67, Miguel Caló68 and Pedro Maffia69. He produced his most refined works with his orquesta típica, to which he was devoted exclusively until he died. We will give special attention to this ensemble. -
José Bragato, También Fue Flautista Mariana Graziano, Patricia Díaz Y Juliane Bürger Lonchelista
Número 11 • Julio2021 Cul patrocini dal Ente Friuli nel Mondo Maestro José por Elsa Bragato Bragato La impronta friulana en la vanguardia del tango l tango, ritmo que distingue la porte- Eñidad de Buenos Aires, tuvo en los in- migrantes italianos en general a sus más fervorosos cultores. Francisco Canaro (Ca- narozzo), Pedro Maffia, Alberto Marino (Marinaro de Verona), Juan Maglio, Héc- tor Stamponi, Atilio Stampone, Enrique M. Francini, José Libertella, Cayetano Puglisi, Juan Rezzano, Antonino Cipolla, Alfredo de Angelis, Astor Pantaleón Piazzolla, Os- valdo Pugliese, Homero Manzi, Sebastián Piana, Enrique Santos Discepolo, Juan En el caso de José Bra- forma de vida para los D’Arienzo, Elvino Vardaro, Minotti Di Cic- gato, la italianidad Bragato ya en el Friu- co, Juan Vasallo, Horacio Malvicino, Tito surge del Friuli, con- li. Los hermanos de Roccatagliatta, Edgardo Donato, Aníbal cretamente de la ciu- José, Bruno el mayor, Troilo, Ferruccio Marzán, Elmerico Fracas- dad de Udine. La Pa- fue flautista, egresado si, Roberto Maida, entre muchos otros, son tria Friulana dió otras del Tomadini, solista de solo algunos de los nombres que hicieron, dos familias tangue- flauta del Teatro Colón construyeron, el tango desde sus bases. ras: los Marzán y los de Buenos Aires, y el Murtag. hermano menor de José, EN ESTE NUMERO: Intun magjic paesut... di Galliano De Agostini Los Bragato proceden de Udine y, Enrique, inició sus estu- Palabras del presidente por Eduardo Baschera alguno que otro, de Venecia. Con- dios de Fagot en Buenos Aires, Mandi Bruno di Valeria De Agostini, formaron una familia de artesanos y en el Conservatorio Nacional, Claudio Costantini e Nadia Truany Mujeres de la Galia Cisalpina por Emanuela músicos, dedicados todos a diferen- igual que José, poco después de Speranza Turchet y Galliano De Agostini tes ramas del arte. -
4.1 Gustavo Beytelmann - Introduction
Cover Page The handle http://hdl.handle.net/1887/30110 holds various files of this Leiden University dissertation Author: Varassi Pega, Bárbara Title: Creating and re-creating tangos : artistic processes and innovations in music by Pugliese, Salgán, Piazzolla and Beytelmann Issue Date: 2014-12-11 4.1 Gustavo Beytelmann - Introduction Pianist, arranger and composer (1945) In recent years, many innovations have been made in tango. One such innovation is a fusion of genres, which, to a greater or lesser extent, build on or redefine structural elements of tango. The work of Gustavo Beytelmann is exemplary of such innovation: it features a fusion of 20th century Western art music and popular music (tango). According to Esteban Buch, who submits that tango is undoubtedly the main reference for Beytelmann’s music: The generic complexity of Piazzolla’s music opened up new possibilities that have seldom been explored in a truly original fashion. Gustavo Beytelmann’s work [...] may well represent the most relevant proposal in this regard, capable of adding what Piazzolla’s world precisely lacked: the ‘true’ contemporary music that since the fifties did not turn to Nadia Boulanger but to Pierre Boulez, and in Beytelmann’s very case, to Francisco Kröpfl.255 Born in Venado Tuerto, Argentina, to a family of musicians and music lovers, Beytelmann played classical and popular piano repertoire from a very young age. The experience of performing in orquestas típicas and various ensembles, some with his father, a violinist, exposed him to a myriad of popular music genres, deeply influencing his career. The connection between popular and art music continued during the years he studied classical piano, harmony and composition in Rosario, where his activities as a tango pianist for composer and bandoneonist Domingo Federico also marked a milestone in his musical life.