El Candombe Argentino Como Repertorio De Acción Cultural Popular
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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. -
Music of Latin America (In English)
Music of Latin America (in English) Class Code MUSIC – UA 9155 Instructor Juan Raffo Details Email: [email protected] Cell/WhatsApp: +54 911 6292 0728 Office Hours: Faculty Room, Wed 5-6 PM Class Details Mon/Wed 3:30-5:00 PM Location: Room Astor Piazzolla Prerequisites None Class A journey through the different styles of Latin American Popular Music (LAPM), Description particularly those coming from Argentina, Brazil and Uruguay. Their roots, influences and characteristics. Their social and historical context. Their uniqueness and similarities. Emphasis in the rhythmic aspect of folk music as a foundation for dance and as a resource of cultural identity. Even though there is no musical prerequisite, the course is recommended for students with any kind and/or level of musical experience. The course explores both the traditional and the contemporary forms of LAPM. Extensive listening/analysis of recorded music and in-class performing of practical music examples will be primary features of the course. Throughout the semester, several guest musicians will be performing and/or giving clinic presentations to the class. A short reaction paper will be required after each clinic. These clinics might be scheduled in a different time slot or even day than the regular class meeting, provided that there is no time conflict with other courses for any of the students. Desired Outcomes ● Get in contact with the vast music culture of Latin America ● Have a hands-on approach to learn and understand music ● Be able to aurally recognize and identify Latin American music genres and styles Assessment 1. Attendance, class preparation and participation, reaction papers (online): Components 20 % 2. -
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. -
Historical Background
Historical Background Lesson 3 The Historical Influences… How They Arrived in Argentina and Where the Dances’ Popularity is Concentrated Today The Chacarera History: WHAT INFLUENCES MADE THE CHACARERA WHAT IT IS TODAY? HOW DID THESE INFLUENCES MAKE THEIR WAY INTO ARGENTINA? The Chacarera was influenced by the pantomime dances (the Gallarda, the Canario, and the Zarabanda) that were performed in the theaters of Europe (Spain and France) in the 1500s and 1600s. Later, through the Spanish colonization of the Americas, the Chacarera spread from Peru into Argentina during the 1800s (19th century). As a result, the Chacarera was also influenced by the local Indian culture (indigenous people) of the area. Today, it is enjoyed by all social classes, in both rural and urban areas. It has spread throughout the entire country except in the region of Patagonia. Popularity is concentrated in which provinces? It is especially popular in Santiago del Estero, Tucuman, Salta, Jujuy, Catamarca, La Rioja and Cordoba. These provinces are located in the Northwest, Cuyo, and Pampas regions of Argentina. There are many variations of the dance that are influenced by each of the provinces (examples: The Santiaguena, The Tucumana, The Cordobesa) *variations do not change the essence of the dance The Gato History: WHAT INFLUENCES MADE THE GATO WHAT IT IS TODAY? HOW DID THESE INFLUENCES MAKE THEIR WAY INTO ARGENTINA? The Gato was danced in many Central and South American countries including Mexico, Peru, Chile, Uruguay, and Paraguay, however, it gained tremendous popularity in Argentina. The Gato has a very similar historical background as the other playfully mischievous dances (very similar to the Chacarera). -
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. -
La Asombrosa Excursión De Zamba: La Parodia Como Estrategia Educativa
La asombrosa excursión de Zamba: la parodia como estrategia educativa Germán Martínez Alonso ([email protected]) Estudiante avanzado de la licenciatura en Ciencias de la Comunicación (orientación en Comunicación y Procesos Educativos), Facultad de Ciencias Sociales (UBA). Participa del Proyecto UBACyT Regímenes de representación mediática: absorciones y transformaciones discursivas, dirigido por la profesora María Rosa del Coto. Pensar las relaciones entre comunicación y educación siempre implica enfrentarse a desafíos. Lejos de restringirse a la escolaridad, los fenómenos educativos contemporáneos están atravesados por procesos y sentidos complejos, propios de un auténtico ecosistema comunicativo (Martín-Barbero, 2002) que funciona como el escenario para el despliegue de nuestras vidas, y que conforma una parte significativa de nuestras dimensiones simbólicas. Partiendo de una visión amplia sobre la educación, que se opone a perspectivas restringidas1, entendemos que las reflexiones sobre las procesos educativos precisan ser formuladas en el marco de una sociedad que, en tanto constructora de sentidos comunes para los niños, se encuentra en permanente tensión con un entorno de hiperestimulación. Esto se debe a la frecuentación de y/o a la interacción con productos de los medios de comunicación, los videojuegos, las redes sociales online, etc., que contribuyen a moldear subjetividades e imaginarios. El reto, cuando se trata de investigar en educación, recae en los cambios de las temporalidades y las experiencias subjetivas, es decir, en la manera en que las diferentes generaciones se representan lo real-social. Partimos de una suposición inicial: creemos que las tópicas del imaginario social que conciernen a la creación y la producción mediática de la actualidad pueden ser detectadas a partir de la descripción de los mecanismos típicos de las prácticas discursivas. -
Listado De Generos Autorizados.Xls
POR SUBGENERO LISTADO DE GENEROS AUTORIZADOS ACTUALIZADO AL 10 / 10 / 2006 SUBGENERO CODIGO GENERO AFRO 500 INTERNACIONAL AGOGO 594 INTERNACIONAL AIRES ESPAÑOLES 501 INTERNACIONAL ALBORADA 502 INTERNACIONAL ALEGRO VIVACE 455 SINFONICO Y CAMARA ANATEADA 627 FOLKLORE ANDANTE 400 SINFONICO Y CAMARA ARIA 401 SINFONICO Y CAMARA AUQUI AUQUI 633 FOLKLORE BAGUALA 300 FOLKLORE BAILECITO 301 FOLKLORE BAILE 402 INTERNACIONAL BAILES 302 FOLKLORE BAION 503 INTERNACIONAL BALADA 100 MELODICO BALLET 403 SINFONICO Y CAMARA BAMBUCO 595 INTERNACIONAL BARCAROLA 504 INTERNACIONAL BATUCADA 505 INTERNACIONAL BEAT 101 MELODICO BEGUINE 102 MELODICO BERCEUSE 404 SINFONICO Y CAMARA BLUES 103 MELODICO BOCETO 405 SINFONICO Y CAMARA BOGALOO 105 MELODICO BOLERO 104 MELODICO BOMBA 506 INTERNACIONAL BOOGIE BOOGIE 106 MELODICO BOSSA NOVA 507 INTERNACIONAL BOTECITO 508 INTERNACIONAL BULERIAS 509 INTERNACIONAL CACHACA 615 INTERNACIONAL CACHARPAYA 302 FOLKLORE CAJITA DE MUSICA 406 SINFONICO Y CAMARA CALIPSO 107 MELODICO CAMPERA 303 FOLKLORE CAN CAN 510 INTERNACIONAL CANCION 108 MELODICO CANCION DE CUNA 453 SINFONICO Y CAMARA CANCION FOLKLORICA 358 FOLKLORE Página 1 POR SUBGENERO LISTADO DE GENEROS AUTORIZADOS ACTUALIZADO AL 10 / 10 / 2006 SUBGENERO CODIGO GENERO CANCION INDIA 643 FOLKLORE CANCION INFANTIL 407 SINFONICO Y CAMARA CANCION MAPUCHE 642 FOLKLORE CANDOMBE 1 POPULAR CANON 408 SINFONICO Y CAMARA CANTATA 409 SINFONICO Y CAMARA CANTE JONDO 511 INTERNACIONAL CANZONETTA 109 MELODICO CAPRICCIO 410 SINFONICO Y CAMARA CARAMBA 304 FOLKLORE CARNAVAL 348 FOLKLORE CARNAVALITO -
The Path of Beliefs. Some Determinants of Religious Mobility in Latin America
VOL. 31, ART. 3, 2019 http://dx.doi.org/10.33679/rfn.v1i1.1978 The Path of Beliefs. Some Determinants of Religious Mobility in Latin America El andar de las creencias. Algunos determinantes de la movilidad religiosa en América Latina Abbdel Camargo Martínez1 ABSTRACT The aim of this article is to highlight some of the causes that led to the increase of new religious expressions in Latin America, which may be different or complementary to the historically dominant religion, Roman Catholicism. The research uses a procedural analysis to show how a process of religious conversion and mobility occurred in the region. This has implications for the social structure of countries, as well as community identity, the definition of national history and religious faith, which adapts to the present-day needs of the population. Keywords: 1. religion, 2. change, 3. causes, 4. Mexico, 5. Latin America RESUMEN El objetivo de este trabajo es mostrar algunas causas del incremento de nuevas expresiones religiosas en Latinoamérica, mismas que pueden ser ajenas o complementarias al catolicismo romano, religión histórica y dominante en la región. A través de un análisis procesual, se observa cómo se ha establecido un proceso de conversión y movilidad religiosa en la región con implicaciones en la estructura social de los países, su identidad comunitaria, la definición de su historia y el campo confesional que se adecua a las necesidades actuales de los habitantes de los países de la región. Palabras clave: 1. religión, 2. cambio, 3. causas, 4. México, 5. América Latina. Date received: September 26th, 2017 Date accepted: January 25th, 2018 1 National Council of Science and Technology (Conacyt), El Colegio de la Frontera Sur (Ecosur), Mexico, [email protected], https://orcid.org/0000-0002-8038-8089 Frontera Norte es una revista digital anual editada por El Colegio de la Frontera Norte. -
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. -
Carnival the World’S Longest Carnival
Colorful and joyful shows are URUGUAY displayed on street parades and neighborhood stages for 40 days. CARNIVAL THE WORLD’S LONGEST CARNIVAL In the warm nights of February, mainly in the capital Montevideo, carnival participants present their vision of the country and the world through criticism, satire, parody and humor. The performances, music, dance, costumes, represent on stage the passages of each year. Carnival allows visitors to participate in a great party and also get in touch with the spirit and character of Uruguayans. The groups are divided into categories: Parodistas Rambla 25 de Agosto de 1825 y Yacaré (Parodists), Revistas (Music hall), Humoristas (Humorists), Montevideo, Uruguay Lubolos (Candombe) and Murga, the latter being their most 00 (598 2) 1885100 characteristic expressions, especially in the south of the country www.uruguaynatural.com while in the north Samba Schools prevail. www.uruguaynatural.tv | In Montevideo it begins with an Inaugural Parade along Avenida 18 de Julio allegorical Photography: Photographic Archive of the where all the participant groups join in; Ministry of Tourism - Enrique Pérez, Leo Correa; cars and the courtship of the Queens accompany the artists. Photographic Archive of the Carnival Museum; Aníbal Desfile de Llamadas (Drums Bogliacccini, Diego Battiste, José Arisi. Another dazzling street event is the Call Parade) which takes place in the neighborhoods of Barrio April 2019 Sur and Palermo in the capital. They evoke the call made by black slaves to gather outside the city walls in the 19th century. Tens of thousands of spectators vibrate to the strength and color ENG of the show. THE MURGA: ONE OF THE CULTURAL EXPRESSIONS CANDOMBE: WITH GREATER drum’s party POPULARITY The Murgas have undergone Since its origin the murga More than 2000 drums numerous transformations has been an expression of sound in unison along the since the late 19th century.