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Trocadero U-C.qxd:Maquetación 1 30/7/07 13:54 Página 63 DOS ALTERNATIVAS CULTURALES ANTE LA CRISIS ARGENTINA: LA MÚSICA DE LOS EXCLUIDOS Y ELTEATRO “BARRIAL” DE LA CLASE MEDIA. MANUELA FERNÁNDEZ MAYO UNIVERSIDAD DE CÁDIZ RESUMEN Argentina ha visto surgir una serie de manifestaciones artísticas y culturales unidas al con- texto de la crisis, de las cuales destacamos en el panorama musical, la aparición y desarrollo de la cumbia villera, un subgénero musical que alberga la identidad del nuevo pobre urbano argen- tino, una música que se ha impuesto dentro del panorama de la música tropical como una rei- vindicación del estilo de vida de los habitantes de las villas miserias. Implica un discurso que manifiesta la discriminación, en tanto marginalidad y exclusión social a la vez. Por su parte, el teatro barrial ha aglutinado a los sectores sociales medios y su singularidad reside en que aquí los artistas, son los propios vecinos. El teatro comunitario parte de la idea de que el arte es un agente de transformación social y responde a un intento de recuperar la identidad cultural del país empezando por el barrio y el entorno, pero también se erige como un acto de resistencia cultu- ral frente a un mundo globalizado, que tiende a borrar las diferencias culturales. Palabras Clave: Argentina, crisis, cumbia villera, teatro barrial o comunitario. ABSTRACT Argentinian culture has been a witness – together with the economic crisis- of a group of artistic and cultural signs from which we, in the musical context- emphasize the beginning and development of the “cumbia villera”, a musical subgenre which shows the identity of the new urban poor man in Argentina, a kind of music that has prevailed within the tropical one as a claim to life style of inhabitants from poor villages, It refers to both, a marginal and social discrimina- tion. -
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. -
Colombian Nationalism: Four Musical Perspectives for Violin and Piano
COLOMBIAN NATIONALISM: FOUR MUSICAL PERSPECTIVES FOR VIOLIN AND PIANO by Ana Maria Trujillo A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Major: Music The University of Memphis December 2011 ABSTRACT Trujillo, Ana Maria. DMA. The University of Memphis. December/2011. Colombian Nationalism: Four Musical Perspectives for Violin and Piano. Dr. Kenneth Kreitner, Ph.D. This paper explores the Colombian nationalistic musical movement, which was born as a search for identity that various composers undertook in order to discover the roots of Colombian musical folklore. These roots, while distinct, have all played a significant part in the formation of the culture that gave birth to a unified national identity. It is this identity that acts as a recurring motif throughout the works of the four composers mentioned in this study, each representing a different stage of the nationalistic movement according to their respective generations, backgrounds, and ideological postures. The idea of universalism and the integration of a national identity into the sphere of the Western musical tradition is a dilemma that has caused internal struggle and strife among generations of musicians and artists in general. This paper strives to open a new path in the research of nationalistic music for violin and piano through the analyses of four works written for this type of chamber ensemble: the third movement of the Sonata Op. 7 No.1 for Violin and Piano by Guillermo Uribe Holguín; Lopeziana, piece for Violin and Piano by Adolfo Mejía; Sonata for Violin and Piano No.3 by Luís Antonio Escobar; and Dúo rapsódico con aires de currulao for Violin and Piano by Andrés Posada. -
Candombe Afrouruguayo Y Categorías Étnico-Raciales En Paraná, Santa Fe Y Rosario (Fines Siglo XX a 2015)
DOCTORADO DE LA UNIVERSIDAD DE BUENOS AIRES. Área ANTROPOLOGÍA. Facultad de Filosofía y Letras. “Salir de la blanquitud”: candombe afrouruguayo y categorías étnico-raciales en Paraná, Santa Fe y Rosario (fines siglo XX a 2015) DOCTORANDA: Julia Broguet DIRECTOR DE TESIS: Dr. Alejandro Frigerio CO-DIRECTORA DE TESIS: Dra. Laura Cardini CONSEJERA DE ESTUDIOS: Dra. Silvia Citro 1 RESUMEN. En esta investigación nos proponemos examinar cómo la expansión de una práctica cultural considerada "negra" comprende una creciente interpelación de la construcción de blanquedad del contexto cultural y social al que arriba. Se produce así un cuestionamiento de la narrativa dominante de Argentina como nación ―blanca‖ y ―europea‖ y un replanteo de las identificaciones étnicas y raciales de los sujetos involucrados. Ambas dimensiones convergen y se expresan en una lectura racializada de las espacialidades en diferentes niveles contextuales (urbano y regional); y en la aparición de una nueva mirada sobre la genealogía familiar, que envuelve rasgos de la propia corporalidad. A tal fin, investigamos la expansión del candombe afrouruguayo entre practicantes considerados ―blancos‖, pertenecientes a sectores medios de Paraná, Santa Fe y Rosario. De este modo, trabajamos con la circulación de prácticas culturales racializadas ―negras‖ que se expanden más allá de ―grupos negros‖ (Frigerio y Lamborghini, 2012). ABSTRACT. In this research we look into how the spread of a cultural practice that is considered ―black‖ requires questioning the construction of whiteness of the cultural and social context where it arrives. Thus, it rises a questioning regarding Argentina's dominant narrative as a ―white‖ and ―european‖ nation as well as rethinking the ethnic and racial identifications of the subjects involved. -
Hybridity and Identity in the Pan-American Jazz Piano Tradition
Hybridity and Identity in the Pan-American Jazz Piano Tradition by William D. Scott Bachelor of Arts, Central Michigan University, 2011 Master of Music, University of Michigan, 2013 Master of Arts, University of Michigan, 2015 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2019 UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by William D. Scott It was defended on March 28, 2019 and approved by Mark A. Clague, PhD, Department of Music James P. Cassaro, MA, Department of Music Aaron J. Johnson, PhD, Department of Music Dissertation Advisor: Michael C. Heller, PhD, Department of Music ii Copyright © by William D. Scott 2019 iii Michael C. Heller, PhD Hybridity and Identity in the Pan-American Jazz Piano Tradition William D. Scott, PhD University of Pittsburgh, 2019 The term Latin jazz has often been employed by record labels, critics, and musicians alike to denote idioms ranging from Afro-Cuban music, to Brazilian samba and bossa nova, and more broadly to Latin American fusions with jazz. While many of these genres have coexisted under the Latin jazz heading in one manifestation or another, Panamanian pianist Danilo Pérez uses the expression “Pan-American jazz” to account for both the Afro-Cuban jazz tradition and non-Cuban Latin American fusions with jazz. Throughout this dissertation, I unpack the notion of Pan-American jazz from a variety of theoretical perspectives including Latinx identity discourse, transcription and musical analysis, and hybridity theory. -
CATALOG Mayan Stelaes
CATALOG Mayan Stelaes Palos Mayan Collection 1 Table of Contents Aguateca 4 Ceibal 13 Dos Pilas 20 El Baúl 23 Itsimite 27 Ixlu 29 Ixtutz 31 Jimbal 33 Kaminaljuyu 35 La Amelia 37 Piedras Negras 39 Polol 41 Quirigia 43 Tikal 45 Yaxha 56 Mayan Fragments 58 Rubbings 62 Small Sculptures 65 2 About Palos Mayan Collection The Palos Mayan Collection includes 90 reproductions of pre-Columbian stone carvings originally created by the Mayan and Pipil people traced back to 879 A.D. The Palos Mayan Collection sculptures are created by master sculptor Manuel Palos from scholar Joan W. Patten’s casts and rubbings of the original artifacts in Guatemala. Patten received official permission from the Guatemalan government to create casts and rubbings of original Mayan carvings and bequeathed her replicas to collaborator Manuel Palos. Some of the originals stelae were later stolen or destroyed, leaving Patten’s castings and rubbings as their only remaining record. These fine art-quality Maya Stelae reproductions are available for purchase by museums, universities, and private collectors through Palos Studio. You are invited to book a virtual tour or an in- person tour through [email protected] 3 Aguateca Aguateca is in the southwestern part of the Department of the Peten, Guatemala, about 15 kilometers south of the village of Sayaxche, on a ridge on the western side of Late Petexbatun. AGUATECA STELA 1 (50”x85”) A.D. 741 - Late Classic Presumed to be a ruler of Aguatecas, his head is turned in an expression of innate authority, personifying the rank implied by the symbols adorning his costume. -
Performing Blackness in the Danza De Caporales
Roper, Danielle. 2019. Blackface at the Andean Fiesta: Performing Blackness in the Danza de Caporales. Latin American Research Review 54(2), pp. 381–397. DOI: https://doi.org/10.25222/larr.300 OTHER ARTS AND HUMANITIES Blackface at the Andean Fiesta: Performing Blackness in the Danza de Caporales Danielle Roper University of Chicago, US [email protected] This study assesses the deployment of blackface in a performance of the Danza de Caporales at La Fiesta de la Virgen de la Candelaria in Puno, Peru, by the performance troupe Sambos Illimani con Sentimiento y Devoción. Since blackface is so widely associated with the nineteenth- century US blackface minstrel tradition, this article develops the concept of “hemispheric blackface” to expand common understandings of the form. It historicizes Sambos’ deployment of blackface within an Andean performance tradition known as the Tundique, and then traces the way multiple hemispheric performance traditions can converge in a single blackface act. It underscores the amorphous nature of blackface itself and critically assesses its role in producing anti-blackness in the performance. Este ensayo analiza el uso de “blackface” (literalmente, cara negra: término que designa el uso de maquillaje negro cubriendo un rostro de piel más pálida) en la Danza de Caporales puesta en escena por el grupo Sambos Illimani con Sentimiento y Devoción que tuvo lugar en la fiesta de la Virgen de la Candelaria en Puno, Perú. Ya que el “blackface” es frecuentemente asociado a una tradición estadounidense del siglo XIX, este artículo desarrolla el concepto de “hemispheric blackface” (cara-negra hemisférica) para dar cuenta de elementos comunes en este género escénico. -
Msm Women's Chorus
MSM WOMEN’S CHORUS Kent Tritle, Ronnie Oliver, Jr., Hannah Nacheman, and Alejandro Zuleta, Conductors Vanessa May-lok Lee, piano Francesca Leo, flute Liana Hoffman and Shengmu Wang, horn Minyoung Kwon and Frances Konomi, harp Tamika Gorski (MM ’17), marimba Elliot Roman and Alexandros Darna, percussion WEDNESDAY, FEBRUARY 27, 2019 | 7:30 PM NEIDORFF-KARPATI HALL WEDNESDAY, FEBRUARY 27, 2019 | 7:30 PM NEIDORFF-KARPATI HALL MSM WOMEN’S CHORUS Kent Tritle, Ronnie Oliver, Jr., Hannah Nacheman, and Alejandro Zuleta, Conductors Vanessa May-lok Lee, piano Francesca Leo, flute Liana Hoffman and Shengmu Wang, horn Minyoung Kwon and Frances Konomi, harp Tamika Gorski (MM ’17), marimba Elliot Roman and Alexandros Darna, percussion PROGRAM STEPHEN PAULUS The Earth Sings (1949–2014) I. Day Break II. Sea and Sky III. Wind and Sun Alejandro Zuleta, Conductor Vanessa May-lok Lee, piano Elliot Roman and Alexandros Darna, percussion GUSTAV HOLST Choral Hymns from the Rig Veda, Group 3, H. 99, (1874–1934) Op. 26 Hymn to the Dawn Hymn to the Waters Hymn to Vena (Sun rising through the mist) Hymn of the Travellers Hannah Nacheman, Conductor Minyoung Kwon, harp VINCENT Winter Cantata, Op. 97 PERSICHETTI I. A Copper Pheasant (1915–1987) II. Winter’s First Drizzle III. Winter Seclusion I V. The Woodcutter V. Gentlest Fall of Snow VI. One Umbrella VII. Of Crimson Ice VIII. The Branch Is Black IX. Fallen Leaves X. So Deep XI. The Wind’s Whetstone XII. Epilogue Ronnie Oliver, Jr., Conductor Francesca Leo, flute Tamika Gorski (MM ’17), marimba JOHANNES BRAHMS Vier Gesänge (Four Songs), Op. -
Chapter 5 Nawat
Chapter 5 Nawat 5.1 Introduction This chapter introduces the Nawat/Pipil language. Section 5.2 explains the Nawat/Pipil and the Nawat/Nahuatl distinction. A brief history of the Pipil people is provided in section 5.3. Section 5.4 reviews the available Nawat language resources. A basic grammar is outlined in section 5.5. A more complete description would require more resources beyond the scope of the present project. Section 5.6 discusses the issues that arise for the present project, including what alphabet and dialect to use. Section 5.7 provides a summary of the chapter. 5.2 Nawat – Some Basic Facts Nawat versus Pipil In the literature, the Nawat language of El Salvador is referred to as Pipil. The people who speak the language are known as the Pipil people, hence the use of the word Pipil for their language. However, the Pipil speakers themselves refer to their language as Nawat. In El Salvador, the local Spanish speakers refer to the language as “nahuat” (pronounced “/nawat/”). Throughout this document, the language will be called Nawat. El Salvador is a small country in Central America. It is bordered on the north-west by Guatemala and on the north-east by Honduras. See Figure 5.1 for a map of Central America. El Salvador (Used by permission of The General Libraries, The University of Texas at Austin) Figure 5.1 Map of Central America 75 Nawat versus Nahuatl Nawat is an Uto-Aztecan language (Campbell, 1985). It is related to the Nahuatl language spoken in Mexico (which is where the Pipils originally came from, see section 5.3). -
17Th International Conference Music and Dance in Visual Culture
Association Répertoire International d’Iconographie Musicale (RIdIM) 17TH INTERNATIONAL CONFERENCE MUSIC AND DANCE IN VISUAL CULTURE Music Library of Greece “Lilian Voudouri” – The Friends of Music Society Athens, Greece | 5-7 October 2017 ABSTRACTS AND BIOGRAPHIES 29 KEYNOTE LECTURES Alexandra Goulaki Voutira Αριστοτέλειο Πανεπιστήμιο της Θεσσαλονίκης (Aristotle University of Thessaloniki) Conventions, Formulae and Observable Reality in Ancient Musical Imagery The development of Musical Iconography connected with Ancient Greece has, in recent years, resulted in numerous studies that dynamically seek to revive the musical reality of this period. The large number of representations, especially in vase painting, has attracted the interest of many scholars, who have dealt systematically with various subjects, e.g. musical contests, cult scenes, banquets, education, gatherings of women, etc. An important development in the field of Musical Iconography is the systematic treatment of musical subjects, and the progress in treating the available information. There are increasing efforts to combine iconographic data with information from literary sources, with elements concerning the theory of music, and also with the remains of musical instruments, the study of which has witnessed considerable progress due to the re-examination of old and new finds. In this context, there is increasing awareness of the peculiarities of the material, especially vase paintings. The representations are not what we might call “realistic depictions” of musical themes. In most cases we have to work with scenes painted on mass-produced ware, based on a relatively limited repertory of motifs, subject to various limitations and conventions. Yet the painters—usually craftsmen rather than artists—had to deal with a subject matter that was not at all “mass produced”: musical instruments. -
The Talcigüines of El Salvador
The Talcigüines of El Salvador: A Contextual Example of Nahua Drama in the Public Square Robert A. Danielson, Ph.D. Asbury Theological Seminary DOI: 10.7252/Paper. 0000 22 | The Talcigüines of El Salvador: ABSTRACT: Anthropologist Louise M. Burkhart has spent decades studying the literary dramas of the Nahua speakers of 16th and 17th century Colonial Mexico. While many of these dramas illustrate the blending of Christianity with pre- Christian indigenous religion in Latin America, they have seldom been studied as early examples of contextualized Christianity or syncretism within early Spanish missions in Latin America. Tese early Nahua dramas became elaborate performances that expressed indigenous understandings of Christian stories and theology. Burkhart notes that Spanish priests controlled Nahua drama through reviewing and approving the scripts, but also by keeping the performances out of the church buildings. Tis approach did not stop these contextualized dramas, but rather integrated them into traditional religious performances acted out in public spaces. While many of these dramas exist now only as ancient scripts or recorded accounts, some modern remnants may still exist. One possibility is the Talcigüines of Texistepeque, El Salvador. Performed every Monday of Holy Week, this festival continues to combine Christian themes with indigenous symbols, moving from within the church to the literal public square. Developed for the Nahua speaking Pipil people of one of the oldest colonial parishes in El Salvador, this drama contains many of Burkhart’s elements. Robert A. Danielson, Ph.D. | 23 INTRODUCTION On the Monday of Holy Week each year, a unique performance occurs in the small town of Texistepeque, in the western region of El Salvador in Central America. -
LCGFT for Music Library of Congress Genre/Form Terms for Music
LCGFT for Music Library of Congress Genre/Form Terms for Music Nancy Lorimer, Stanford University ACIG meeting, ALA Annual, 2015 Examples Score of The Four Seasons Recording of The Four Seasons Book about The Four Seasons Music g/f terms in LCSH “Older headings” Form/genre term Subject heading Operas Opera Sacred music Church music Suites Suite (Music) “Newer headings” Genre/form term Subject heading Rock music Rock music $x History and criticism Folk songs Folk songs $x History and criticism Music g/f terms in LCSH Form/genre term Children’s songs Combined with demographic term Buddhist chants Combined with religion term Ramadan hymns Combined with event term Form/genre term $v Scores and parts $a is a genre/form or a medium of performance $v Hymns $a is a religious group $v Methods (Bluegrass) $a is an instrument; $v combines 2 g/f terms Genre/form + medium of performance in LCSH Bass clarinet music (Jazz) Concertos (Bassoon) Concertos (Bassoon, clarinet, flute, horn, oboe with band) Overtures Overtures (Flute, guitar, violin) What’s wrong with this? Variations in practice (old vs new) Genre/form in different parts of the string ($a or $v or as a qualifier) Demographic terms combined with genre/form terms Medium of performance combined with genre/form terms Endless combinations available All combinations are not provided with authority records in LCSH The Solution: LCGFT + LCMPT Collaboration between the Library of Congress and the Music Library Association, Bibliographic Control Committee (now Cataloging and Metadata Committee) Genre/Form Task Force Began in 2009 LCMPT published February, 2014 LCGFT terms published February 15, 2015 567 published in initial phase Structure Thesaurus structure Top term is “Music” All terms have at least one BT, except top term May have more than one BT (Polyhierarchy) The relationship between a term and multiple BTs is “and” not “or” (e.g., you cannot have a term whose BTs are “Cat” and “Dog”) Avoid terms that simply combine two BTs (e.g.