DOCSLIB.ORG

A Comprehensive Study of His Compositions for Violin

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Comprehensive Study of His Compositions for Violin University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 12-2020 Life and Legacy of Luis Gianneo: A Comprehensive Study of His Compositions for Violin Maria Belen Hernandez Follow this and additional works at: https://digscholarship.unco.edu/dissertations Recommended Citation Hernandez, Maria Belen, "Life and Legacy of Luis Gianneo: A Comprehensive Study of His Compositions for Violin" (2020). Dissertations. 721. https://digscholarship.unco.edu/dissertations/721 This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2020 MARIA BELEN HERNANDEZ ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School LIFE AND LEGACY OF LUIS GIANNEO: A COMPREHENSIVE STUDY OF HIS COMPOSITIONS FOR VIOLIN A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Maria Belen Hernandez College of Performing and Visual Arts School of Music Music Performance December 2020 This Dissertation by: Maria Belen Hernandez Entitled: Life and Legacy of Luis Gianneo: A Comprehensive Study of his Compositions for Violin has been approved as meeting the requirement for the Degree of Doctor of Arts in College of Performing and Visual Arts in the School of Music, Program of Violin Performance. Accepted by the Doctoral Committee ______________________________________________________ Jubal Fulks, D.M.A., Research Advisor ______________________________________________________ Carissa Reddick, Ph.D., Committee Member ______________________________________________________ Deborah Kauffman, D.M.A., Committee Member ______________________________________________________ Michael Welsh, Ph.D., Faculty Representative Date of Dissertation Defense ______________________________ Accepted by the Graduate School __________________________________________________________ Jeri-Anne Lyons, Ph.D. Dean of the Graduate School Associate Vice President for Research ABSTRACT Hernandez, Maria Belen. Life and Legacy of Luis Gianneo: A Comprehensive Study of his Compositions for Violin. Published Doctor of Arts dissertation, University of Northern Colorado, 2020. The purpose of this research is to promote the complete works of composer Luis Gianneo (1897–1968) through the analysis of his pieces for violin, including the Aymara Violin Concerto, the Sonata for Violin and Piano, Cinco Piezas for violin and piano, and Tres Piezas for violin solo. These pieces represent the wide variety of the styles and compositional techniques that Gianneo explored during his lifetime. In his violin concerto and works for violin and piano, Gianneo cultivated Argentine nationalism as well as European influences such as Neoclassicism. Later in his life, in Tres Piezas for violin solo, he experimented with serialism. A brief history of music in Argentina will contextualize the composer’s works and legacy in his native country and the world. Through the study and analysis of his violin works, the student and scholar will better grasp Gianneo’s unique musical language and style. Gianneo’s life impacted not only musicians, but also institutions, which he was committed to creating and improving. He created many youth orchestras and participated in the leadership of musical associations. Today, many conservatories, libraries, and a string quartet in Argentina are named after Luis Gianneo. There is, however, a lack of in-depth information about the composer, particularly in sources other than publications in Spanish. This research intends to promote Gianneo’s music, encourage the publication of his works, and bring to light his life and musical legacy as a source of information for those looking to learn more about Gianneo. iii ACKNOWLEDGEMENTS I would like to express my gratitude to all those who have contributed to this research and supported my musical journey. First, I would like to thank the members of my committee, Dr. Jubal Fulks, Dr. Carissa Reddick, Dr. Deborah Kauffman, and Dr. Michael Welsh, for their guidance and expertise. With infinite gratitude I want to recognize the contribution of the composer’s son, Luis Gianneo, to this research. He authorized the inclusion of his father’s copyrighted scores as musical examples, and shared warm memories of his father in our interview, encouraging the present study. I would like to thank all of the Argentine musicians, researchers, and institutions that provided scores, resources, and insights, especially to Lucio Videla and the Instituto de Investigación en Etnomusicología, Luis Roggero and Sebastián Masci (Cuarteto Gianneo), José Santillán (Melos Ediciones Musicales), and the Instituto Nacional de Musicología Carlos Vega. I am deeply appreciative of Dr. Gary Galván and the Fleisher Collection at the Free Library of Philadelphia for providing manuscripts, valuable information, and letters between the composer and the Fleisher Collection. I would like to thank maestro Luis Gorelik and the Orquesta Sinfónica de Salta for awakening my appreciation of Gianneo’s music through our recording session of the Aymara Violin Concerto (with violin soloist Tatiana Samouil) and Obertura para una Comedia Infantil for Sony Music in 2010 while I was a member of the violin section. iv I truly value the encouragement and accountability provided by my friends and colleagues. A very special note of appreciation to my friend and editor, Juliette Angoulvant, who thoroughly revised this study and provided ideas to improve its comprehension. I would like to thank my family: my mother, pianist and researcher Patricia Espert, for inspiring my love for Argentine music, and for contributing to this research with bibliographies and resources; my father, Luis Hernández, and my brother Sergio Hernández, for their unconditional love, support, and encouragement; and to my sister, Lourdes Hernández, who always inspired me to be passionate in my endeavors. Finally, I want to express sincere gratitude to my husband, Cody Thomson, who encouraged me daily and who was a pillar of strength along the way. v TABLE OF CONTENTS PREFACE.................................................................................................................................... 1 CHAPTER I. INTRODUCTION: HISTORY OF MUSIC IN ARGENTINA FROM THE COLONIAL PERIOD TO THE 1960s....................................................................... 3 The Colonial Period From National Independence to National Organization Immigration, Popular Music, and Nationalism The Renovation Movement: Grupo Renovación Twentieth-Century Music and Cultural Institutions II. LUIS GIANNEO: HIS LIFE AND HIS WORKS.................................................... 24 Life Works and Style III. AYMARA VIOLIN CONCERTO.............................................................................. 43 Introduction Analytical Methodology Movement I Movement II Movement III IV. SELECTED WORKS FOR VIOLIN........................................................................ 80 Introduction Analytical Methodology Sonata for Violin and Piano Cinco Piezas for Violin and Piano Tres Piezas for Violin Solo vi V. CONCLUSION....................................................................................................... 119 Luis Gianneo’s Legacy BIBLIOGRAPHY..................................................................................................................... 131 APPENDIX............................................................................................................................... 136 A. CATALOG OF WORKS FOR STRINGS B. COPYRIGHT AUTHORIZATION C. CONCERT PROGRAMS vii LIST OF FIGURES Figure 3.1. Aymara Violin Concerto, movement I. Formal analysis................................................ 57 3.2 Measure comparison between versions of the Aymara Violin Concerto, mov. I........... 61 3.3. Aymara Violin Concerto, movement II. Formal analysis.............................................. 63 3.4. Aymara Violin Concerto, movement II, mm. 1–16, double period analysis................. 65 3.5. Measure comparison between versions of the Aymara Violin Concerto, mov. II......... 70 3.6. Aymara Violin Concerto, movement III. Formal analysis............................................. 71 3.7. Aymara Violin Concerto, movement III. Formal analysis, transition simplified.......... 71 3.8. Measure comparison between versions of the Aymara Violin Concerto, mov. III........ 77 4.1. Luis Gianneo, Sonata for Violin and Piano, movement I. Formal analysis................... 86 4.2. Gianneo, Sonata for Violin and Piano, movement II. Formal analysis......................... 92 4.3. Gianneo, Sonata for Violin and Piano, movement III. Formal analysis........................ 94 4.4. Gianneo, Cinco Piezas, Vidala. Formal analysis........................................................... 98 4.5. Gianneo, Cinco Piezas, Canción Incaica. Formal analysis........................................... 99 4.6. Gianneo, Cinco Piezas, Chacarera. Formal analysis.................................................... 102 4.7. Gianneo, Cinco Piezas, Canción de Cuna. Formal analysis.......................................... 106 4.8. Gianneo, Cinco Piezas, Zapateado. Formal analysis.................................................... 107 4.9. Gianneo, Tres Piezas for violin solo. Length comparison
Load more

Recommended publications
  • Abstracts Papers Read
    ABSTRACTS of- PAPERS READ at the THIRTY-FIFTH ANNUAL MEETING of the AMERICAN MUSICOLOGICAL SOCIETY SAINT LOUIS, MISSOURI DECEMBER 27-29, 1969 Contents Introductory Notes ix Opera The Role of the Neapolitan Intermezzo in the Evolution of the Symphonic Idiom Gordana Lazarevich Barnard College The Cabaletta Principle Philip Gossett · University of Chicago 2 Gluck's Treasure Chest-The Opera Telemacco Karl Geiringer · University of California, Santa Barbara 3 Liturgical Chant-East and West The Degrees of Stability in the Transmission of the Byzantine Melodies Milos Velimirovic · University of Wisconsin, Madison 5 An 8th-Century(?) Tale of the Dissemination of Musico­ Liturgical Practice: the Ratio decursus qui fuerunt ex auctores Lawrence A. Gushee · University of Wisconsin, Madison 6 A Byzantine Ars nova: The 14th-Century Reforms of John Koukouzeles in the Chanting of the Great Vespers Edward V. Williams . University of Kansas 7 iii Unpublished Antiphons and Antiphon Series Found in the Dodecaphony Gradual of St. Yrieix Some Notes on the Prehist Clyde W. Brockett, Jr. · University of Wisconsin, Milwaukee 9 Mark DeVoto · Unive Ist es genug? A Considerat Criticism and Stylistic Analysis-Aims, Similarities, and Differences PeterS. Odegard · Uni· Some Concrete Suggestions for More Comprehensive Style Analysis The Variation Structure in Jan LaRue · New York University 11 Philip Friedheim · Stat Binghamton An Analysis of the Beginning of the First Movement of Beethoven's Piano Sonata, Op. 8la Serialism in Latin America Leonard B. Meyer · University of Chicago 12 Juan A. Orrego-Salas · Renaissance Topics Problems in Classic Music A Severed Head: Notes on a Lost English Caput Mass Larger Formal Structures 1 Johann Christian Bach Thomas Walker · State University of New York, Buffalo 14 Marie Ann Heiberg Vos Piracy on the Italian Main-Gardane vs.
    [Show full text]
  • THE WAY a Review of Christian Spirituality Published by the British Jesuits
    THE WAY a review of Christian spirituality published by the British Jesuits January 2019 Volume 58, Number 1 MEANING IN LIGHT AND DARKNESS a © Steve Halam THE WAY January 2019 Foreword 5–6 Living with Anxiety, Medication and Prayer 7–18 Rob Culhane It is perhaps not surprising that drugs prescribed to mitigate the effects of anxiety will affect the life of prayer. It is less clear, however, what will actually happen in practice. In a frank and open article, Rob Culhane, an Anglican priest working in Australia, describes how his own ministry and spirituality have been influenced by the medicines he needs. Marriage Vows in the Principle and Foundation 19–24 Gerald O’Collins The preamble to St Ignatius’ Spiritual Exercises, the text called the ‘Principle and Foundation’, has frequently been regarded as dry, analytical, and rooted more in philosophy than in spiritual experience. However, by comparing it with the language of the marriage vows, Gerry O’Collins argues that it can be seen rather as a rich, loving and even lyrical passage. The Logos of Our Lives: Viktor Frankl, Meaning and Spiritual 25–35 Direction Richard Boileau The opening of St John’s Gospel is often translated as, ‘In the beginning was the Word’. An alternative translation, however, would be ‘In the beginning was the Meaning’. Viktor Frankl, a leading twentieth-century psychotherapist, wrote widely on the concept of meaning, and Richard Boileau here explores his work in the context of spiritual accompaniment. Spirituality and Living Adoremus: Discover a Whole New World 37–40 Margaret Scott Eucharistic adoration, where the consecrated host is displayed on an altar as a focus for prayer, is a Roman Catholic practice that can seem strange to other Christians.
    [Show full text]
  • The Origins of the Underline As Visual Representation of the Hyperlink on the Web: a Case Study in Skeuomorphism
    The Origins of the Underline as Visual Representation of the Hyperlink on the Web: A Case Study in Skeuomorphism The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Romano, John J. 2016. The Origins of the Underline as Visual Representation of the Hyperlink on the Web: A Case Study in Skeuomorphism. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33797379 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Origins of the Underline as Visual Representation of the Hyperlink on the Web: A Case Study in Skeuomorphism John J Romano A Thesis in the Field of Visual Arts for the Degree of Master of Liberal Arts in Extension Studies Harvard University November 2016 Abstract This thesis investigates the process by which the underline came to be used as the default signifier of hyperlinks on the World Wide Web. Created in 1990 by Tim Berners- Lee, the web quickly became the most used hypertext system in the world, and most browsers default to indicating hyperlinks with an underline. To answer the question of why the underline was chosen over competing demarcation techniques, the thesis applies the methods of history of technology and sociology of technology. Before the invention of the web, the underline–also known as the vinculum–was used in many contexts in writing systems; collecting entities together to form a whole and ascribing additional meaning to the content.
    [Show full text]
  • Children in Opera
    Children in Opera Children in Opera By Andrew Sutherland Children in Opera By Andrew Sutherland This book first published 2021 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2021 by Andrew Sutherland Front cover: ©Scott Armstrong, Perth, Western Australia All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-6166-6 ISBN (13): 978-1-5275-6166-3 In memory of Adrian Maydwell (1993-2019), the first Itys. CONTENTS List of Figures........................................................................................... xii Acknowledgements ................................................................................. xxi Chapter 1 .................................................................................................... 1 Introduction What is a child? ..................................................................................... 4 Vocal development in children ............................................................. 5 Opera sacra ........................................................................................... 6 Boys will be girls .................................................................................
    [Show full text]
  • Dante Anzolini
    Music at MIT Oral History Project Dante Anzolini Interviewed by Forrest Larson March 28, 2005 Interview no. 1 Massachusetts Institute of Technology Lewis Music Library Transcribed by: Mediascribe, Clifton Park, NY. From the audio recording. Transcript Proof Reader: Lois Beattie, Jennifer Peterson Transcript Editor: Forrest Larson ©2011 Massachusetts Institute of Technology Lewis Music Library, Cambridge, MA ii Table of Contents 1. Family background (00:25—CD1 00:25) ......................................................................1 Berisso, Argentina—on languages and dialects—paternal grandfather’s passion for music— early aptitude for piano—music and soccer—on learning Italian and Chilean music 2. Early musical experiences and training (19:26—CD1 19:26) ............................................. 7 Argentina’s National Radio—self-guided study in contemporary music—decision to become a conductor—piano lessons in Berisso—Gilardo Gilardi Conservatory of Music in La Plata, Argentina—Martha Argerich—María Rosa Oubiña “Cucucha” Castro—Nikita Magaloff— Carmen Scalcione—Gerardo Gandini 3. Interest in contemporary music (38:42—CD2 00:00) .................................................14 Enrique Girardi—Pierre Boulez—Anton Webern—Charles Ives—Carl Ruggles’ Men and Mountains—Joseph Machlis—piano training at Gilardo Gilardi Conservatory of Music—private conductor training with Mariano Drago Sijanec—Hermann Scherchen—Carlos Kleiber— importance of gesture in conducting—São Paolo municipal library 4. Undergraduate education (1:05:34–CD2 26:55)
    [Show full text]
  • Film, Photojournalism, and the Public Sphere in Brazil and Argentina, 1955-1980
    ABSTRACT Title of Document: MODERNIZATION AND VISUAL ECONOMY: FILM, PHOTOJOURNALISM, AND THE PUBLIC SPHERE IN BRAZIL AND ARGENTINA, 1955-1980 Paula Halperin, Doctor of Philosophy, 2010 Directed By: Professor Barbara Weinstein Department of History University of Maryland, College Park My dissertation explores the relationship among visual culture, nationalism, and modernization in Argentina and Brazil in a period of extreme political instability, marked by an alternation of weak civilian governments and dictatorships. I argue that motion pictures and photojournalism were constitutive elements of a modern public sphere that did not conform to the classic formulation advanced by Jürgen Habermas. Rather than treating the public sphere as progressively degraded by the mass media and cultural industries, I trace how, in postwar Argentina and Brazil, the increased production and circulation of mass media images contributed to active public debate and civic participation. With the progressive internationalization of entertainment markets that began in the 1950s in the modern cities of São Paulo, Rio de Janeiro, and Buenos Aires there was a dramatic growth in the number of film spectators and production, movie theaters and critics, popular magazines and academic journals that focused on film. Through close analysis of images distributed widely in international media circuits I reconstruct and analyze Brazilian and Argentine postwar visual economies from a transnational perspective to understand the constitution of the public sphere and how modernization, Latin American identity, nationhood, and socio-cultural change and conflict were represented and debated in those media. Cinema and the visual after World War II became a worldwide locus of production and circulation of discourses about history, national identity, and social mores, and a space of contention and discussion of modernization.
    [Show full text]
  • Citymac 2018
    CityMac 2018 City, University of London, 5–7 July 2018 Sponsored by the Society for Music Analysis and Blackwell Wiley Organiser: Dr Shay Loya Programme and Abstracts SMA If you are using this booklet electronically, click on the session you want to get to for that session’s abstract. Like the SMA on Facebook: www.facebook.com/SocietyforMusicAnalysis Follow the SMA on Twitter: @SocMusAnalysis Conference Hashtag: #CityMAC Thursday, 5 July 2018 09.00 – 10.00 Registration (College reception with refreshments in Great Hall, Level 1) 10.00 – 10.30 Welcome (Performance Space); continued by 10.30 – 12.30 Panel: What is the Future of Music Analysis in Ethnomusicology? Discussant: Bryon Dueck Chloë Alaghband-Zadeh (Loughborough University), Joe Browning (University of Oxford), Sue Miller (Leeds Beckett University), Laudan Nooshin (City, University of London), Lara Pearson (Max Planck Institute for Empirical Aesthetic) 12.30 – 14.00 Lunch (Great Hall, Level 1) 14.00 – 15.30 Session 1 Session 1a: Analysing Regional Transculturation (PS) Chair: Richard Widdess . Luis Gimenez Amoros (University of the Western Cape): Social mobility and mobilization of Shona music in Southern Rhodesia and Zimbabwe . Behrang Nikaeen (Independent): Ashiq Music in Iran and its relationship with Popular Music: A Preliminary Report . George Pioustin: Constructing the ‘Indigenous Music’: An Analysis of the Music of the Syrian Christians of Malabar Post Vernacularization Session 1b: Exploring Musical Theories (AG08) Chair: Kenneth Smith . Barry Mitchell (Rose Bruford College of Theatre and Performance): Do the ideas in André Pogoriloffsky's The Music of the Temporalists have any practical application? . John Muniz (University of Arizona): ‘The ear alone must judge’: Harmonic Meta-Theory in Weber’s Versuch .
    [Show full text]
  • Vocality and Listening in Three Operas by Luciano Berio
    Clare Brady Royal Holloway, University of London The Open Voice: Vocality and Listening in three operas by Luciano Berio Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Music February 2017 The Open Voice | 1 Declaration of Authorship I, Patricia Mary Clare Brady, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: February 1st 2017 The Open Voice | 2 Abstract The human voice has undergone a seismic reappraisal in recent years, within musicology, and across disciplinary boundaries in the humanities, arts and sciences; ‘voice studies’ offers a vast and proliferating array of seemingly divergent accounts of the voice and its capacities, qualities and functions, in short, of what the voice is. In this thesis, I propose a model of the ‘open voice’, after the aesthetic theories of Umberto Eco’s seminal book ‘The Open Work’ of 1962, as a conceptual framework in which to make an account of the voice’s inherent multivalency and resistance to a singular reductive definition, and to propose the voice as a site of encounter and meaning construction between vocalist and receiver. Taking the concept of the ‘open voice’ as a starting point, I examine how the human voice is staged in three vocal works by composer Luciano Berio, and how the voice is diffracted through the musical structures of these works to display a multitude of different, and at times paradoxical forms and functions. In Passaggio (1963) I trace how the open voice invokes the hegemonic voice of a civic or political mass in counterpoint with the particularity and frailty of a sounding individual human body.
    [Show full text]
  • Copyright by Bonny Kathleen Winston 2003
    Copyright by Bonny Kathleen Winston 2003 The Development of a Multimedia Web Database for the Selection of 20th Century Intermediate Piano Repertoire by Bonny Kathleen Winston, B.M., M.M. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin May, 2003 Dedication This dissertation would not have been completed without all of the love and support from professors, family, and friends. To all of my dissertation committee for their support and help, especially John Geringer for his endless patience, Betty Mallard for her constant inspiration, and Martha Hilley for her underlying encouragement in all that I have done. A special thanks to my family, who have been the backbone of my music growth from childhood. To my parents, who have provided unwavering support, and to my five brothers, who endured countless hours of before-school practice time when the piano was still in the living room. Finally, a special thanks to my hall-mate friends in the school of music for helping me celebrate each milestone of this research project with laughter and encouragement and for showing me that graduate school really can make one climb the walls in MBE. The Development of a Multimedia Web Database for the Selection of 20th Century Intermediate Piano Repertoire Publication No. ________________ Bonny Kathleen Winston, D.M.A. The University of Texas at Austin, 2003 Supervisor: John M. Geringer The purpose of this dissertation was to create an on-line database for intermediate piano repertoire selection.
    [Show full text]
  • Polly Ferman to Pay Homage to Women in Tango
    Glamourtango is a unique all female international multimedia music and dance show. Glamourtango was created in 2008 by pianist & music director, Polly Ferman to pay homage to women in Tango. Since then, GlamourTango successfully travels international stages all over the world. Glamourtango is educational and motivational: the ultimate homage to Women’s Empowerment. Buenos Aires New York Madrid Glamourtango brought magic to Oropesas's old town with its unique all female multimedia music and dance show. El Periodico Mediterraneo, Oropesa del Mar, España, Carlos Milego “....Glamour Tango deserves our warmest applause, because of its motivation, successes, and courage”. La Nación, Buenos Aires, Argentina, Rene Vargas Vera "....absolutely wonderful! What a talented group of women. I have seldom heard such beautiful music and seen such talented dancers. This was a great rst experience for me, and I promise it won't be the last." Broadwayworld.com, Caryn Cooper “.... This tango show conceived by Ferman demonstrates that music from the Río de la Plata can be enjoyed from a dierent perspective, dynamic and decorative, without losing its most basic essence.” Martin Wullich – Noticias de Cultura y Martin Wullich Espectáculos, Buenos Aires, Argentina Noticias de Cultura y Espectáculos Martin Wullich "It was an unforgettable evening." Click on each video to view exploredance.com, Bonnie Rosenstock Women’s triumph!!! At the Tango Theatre (428 Lafayette), a show created by Polly Ferman. Five musicians, one singer, 4 dancers. All female. Admirable. We had a great time. A wonderful success Gruppo Editoriale Oggi, Inc, di Mario Fratti Oggi 1 Aquellas Comparsas 2 Don Agustin Bardi 3 La Puñalada 4 Malena 5 Apologia Tanguera Click to view videos / music / download pictures POLLY FERMAN pianist music director cultural entrepreneur A leading interpreter of the music of the Americas, pianist Polly Ferman captivates audiences with outstanding performances of works by Latin American composers.
    [Show full text]
  • 5 Stages for Teaching Alberto Ginastera's Twelve American Preludes Qiwen Wan First-Year DMA in Piano Pedagogy University of South Carolina
    5 Stages for Teaching Alberto Ginastera's Twelve American Preludes Qiwen Wan First-year DMA in Piano Pedagogy University of South Carolina Hello everyone, my name is Qiwen Wan. I am a first-year doctoral student in piano pedagogy major at the University of South Carolina. I am really glad to be here and thanks to SCMTA to allow me to present online under this circumstance. The topiC of my lightning talk is 5 stages for teaChing Alberto Ginastera's Twelve AmeriCan Preludes. First, please let me introduce this colleCtion. Twelve AmeriCan Preludes is composed by Alberto Ginastera, who is known as one of the most important South AmeriCan composers of the 20th century. It was published in two volumes in 1944. In this colleCtion, there are 12 short piano pieCes eaCh about one minute in length. Every prelude has a title, tempo and metronome marking, and eaCh presents a different charaCter or purpose for study. There are two pieCes that focus on a speCifiC teChnique, titled Accents, and Octaves. No. 5 and 12 are titled with PentatoniC Minor and Major Modes. Triste, Creole Dance, Vidala, and Pastorale display folk influences. The remaining four pieCes pay tribute to other 20th-Century AmeriCan composers. This set of preludes is an attraCtive output for piano that skillfully combines folk Argentine rhythms and Colors with modern composing teChniques. Twelve American Preludes is a great contemporary composition for late-intermediate to early-advanced students. In The Pianist’s Guide to Standard Teaching and Performing Literature, Dr. Jane Magrath uses a 10-level system to list the pieCes from this colleCtion in different levels.
    [Show full text]
  • Al Son De La Clave: El 3+3+2 En El Tango Las Décadas Del 20, 30 Y 40 Pablo Mitilineos Clang (N.° 4), Pp
    artículos AL SON DE LA CLAVE: EL 3+3+2 EN EL TANGO LAS DÉCADAS DEL 20, 30 Y 40 Pablo Mitilineos Clang (N.° 4), pp. 55-68, abril 2016 ISSN 2524-9215 Al son de la clave: el 3+3+2 en el tango LAS DÉCADAS DEL 20, 30 Y 40 Pablo Mitilineos [email protected] Facultad de Bellas Artes. Universidad Nacional de La Plata. Argentina RESUMEN En la «Tercera Guardia» del tango, desde 1949 en adelante, dentro de la corriente que llamamos «Tango de vanguardia», estudiamos la clave afroamericana «3+3+2» como un elemento estructural de muchas compo- siciones de referentes, como Astor Piazzolla y Eduardo Rovira. Este artículo surge a partir de la investigación sobre el origen de este material y las transformaciones a través de la historia del tango. Más allá de las vincula- ciones altamente consensuadas con las sonoridades africanas desarrolladas en el Río de la Plata desde la época colonial y con el género milonga du- rante el siglo XIX, en el estudio realizado se identificaron otras apariciones de gran importancia textural en versiones de tangos grabadas durante las décadas del veinte, del treinta y del cuarenta. PALABRAS CLAVE Tango de vanguardia, claves afroamericanas, Piazzolla, Rovira Clang Año 4 | N.°4 | ISSN 2524-9215 55 Enseñar música popular no es tarea sencilla. y único» (2014: s/p). Esa línea de trabajo es la No lo era antes y tampoco ahora que existen que intentamos seguir en nuestras clases y en importantes experiencias en instituciones de nuestros trabajos académicos. Actualmente, en enseñanza formal terciaria y universitaria.
    [Show full text]