DOCSLIB.ORG

EL VIOLÍN EN DOS TANGOS DE ALFREDO GOBBI Análisis De Los

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
EL VIOLÍN EN DOS TANGOS DE ALFREDO GOBBI Análisis De Los EL VIOLÍN EN DOS TANGOS DE ALFREDO GOBBI Análisis de los elementos técnicos, musicales e interpretativos del violín para la realización de material pedagógico a estudiantes en formación universitaria. PROYECTO PARA OPTAR AL TÍTULO DE LICENCIADO EN MÚSICA JULIÁN ALFONSO TORRES APONTE CÓDIGO 2012275038 UNIVERSIDAD PEDAGÓGICA NACIONAL FACULTAD DE BELLAS ARTES LICENCIATURA EN MÚSICA BOGOTÁ D.C. 2018 2 EL VIOLÍN EN DOS TANGOS DE ALFREDO GOBBI Análisis de los elementos técnicos, musicales e interpretativos del violín para la realización de material pedagógico a estudiantes en formación universitaria. PROYECTO PARA OPTAR AL TÍTULO DE LICENCIADO EN MÚSICA JULIÁN ALFONSO TORRES APONTE CÓDIGO 2012275038 ASESOR: MARTHA CECILIA OLAVE ZAMBRANO UNIVERSIDAD PEDAGÓGICA NACIONAL FACULTAD DE BELLAS ARTES LICENCIATURA EN MÚSICA BOGOTÁ D.C. 2018 3 4 5 Agradecimientos En primera instancia agradezco a Dios por permitirme culminar esta etapa formativa y encaminarme en este mundo de la música tan necesario en el mundo. A mi familia por su apoyo, en especial a mi madre la cual siempre confió y creyó en mí. A mis amigos y maestros que me acompañaron hasta el final de esta etapa y de los cuales valoro su amistad y paciencia, además, que me permitieron ser partícipe de muchos recuerdos y experiencias a través de esta vida académica. A Giovanni y a la Orquesta de Tango de Bogotá, por permitirme hacer parte de esta familia y aprender de este mundo que se llama Tango. 6 Tabla de contenido Índice de tablas .............................................................................................................................................8 Tabla de Imágenes ........................................................................................................................................9 Resumen ................................................................................................................................................. 11 1. Delimitación del problema ................................................................................................................. 12 1.1. Planteamiento del problema ....................................................................................................... 12 1.2. Pregunta de Investigación ........................................................................................................... 13 1.3. Objetivo General ............................................................................................................................ 14 1.3.1. Objetivos Específicos. ........................................................................................................ 14 1.4. Aproximación al estado del arte ................................................................................................. 14 1.4.1. Publicaciones ...................................................................................................................... 15 1.4.2. Monografías ........................................................................................................................ 18 1.5. Artículo de la Revista “Pensamiento palabra y obra” ................................................................. 19 Justificación de la Investigación ................................................................................................................. 20 2. Marco metodológico........................................................................................................................... 22 2.1. Enfoque pedagógico de la investigación .......................................................................................... 22 2.2 Enfoque de la Investigación ............................................................................................................. 23 2.2.1. El Enfoque Cualitativo ............................................................................................................. 23 2.3. Modalidad de la investigación (Tipo) .............................................................................................. 24 2.4. Población y contexto ....................................................................................................................... 25 2.5. Instrumentos de Recolección de Datos ............................................................................................ 25 2.5.1. Observador cualitativo .............................................................................................................. 26 2.6. Documentos, registros, materiales y artefactos ................................................................................ 27 3. Marco Teórico .................................................................................................................................... 28 Capítulo I ............................................................................................................................................... 28 1.1. Historia del tango Origen y desarrollo. ................................................................................... 28 1.2. Contexto social y político. ...................................................................................................... 35 1.3. Conformación y evolución de las agrupaciones. ..................................................................... 37 1.2. El violín y el tango en la guardia nueva ....................................................................................... 45 Capítulo 2 ............................................................................................................................................... 48 2.1. Alfredo Gobbi ............................................................................................................................. 48 2.2. Análisis musical .......................................................................................................................... 52 2.2.1 Desde lo formal ......................................................................................................................... 53 7 2.2.2 Desde la melodía ....................................................................................................................... 58 2.2.3 Formas de fraseo ....................................................................................................................... 70 2.2.3 Desde los modelos de marcación ............................................................................................... 71 2.2.4 Desde la ornamentación ............................................................................................................. 78 2.2.5 Desde los efectos ....................................................................................................................... 79 Capítulo 3 ............................................................................................................................................... 82 3.1. Propuesta Pedagógica .................................................................................................................. 82 3.1.1 Formas de Marcato .................................................................................................................... 82 3.1.2. Ejercicios Melódicos ................................................................................................................ 89 3.1.2. Miscelánea de Efectos .............................................................................................................. 94 Referencias Bibliográficas ....................................................................................................................... 100 GLOSARIO ............................................................................................................................................. 101 8 Índice de tablas Tabla 1. Papeles del observador ................................................................................................... 26 Tabla 2. Cuadro Comparativo músicas previas al tango ............................................................... 32 Tabla 3. Cuadro comparativo de los primeros conjuntos .............................................................. 39 Tabla 4. Cuadro comparativo de estilos ........................................................................................ 43 Tabla 5. Análisis de forma: El Andariego ...................................................................................... 54 Tabla 6. Análisis de forma: Redención .......................................................................................... 55 9 Tabla de Imágenes Imagen 1. Gabino Ezeiza 29 Imagen 2. Bandoneón 38 Imagen 3. Registro: El Andariego 48 Imagen 4. Registro: Redención 56 Imagen 5. Ejemplo 1: El Andariego compases 21-24 59 Imagen 6. Ejemplo 2: Redención compases 16-22 60 Imagen 7. Ejemplo 1: El Andariego compases del 25 al 31 61 Imagen 8. Ejemplo 2: Redención compases 27 al 30 62 Imagen 9. Ejemplo 1: El Andariego compases 42-45 63 Imagen 10. Melodía expresiva ''pelotita'' 63 Imagen 11. Ejemplo 1: célula motivica del inicio de frase 60 Imagen 12. Ejemplo 1: El Andariego compases del 32-35 61 Imagen 13. Ejemplo 2: Redención compases 34 al 38 66 Imagen 14. Ejemplo 1: El Andariego compases 10-13 67 Imagen 15. Ejemplo 2 Redención compases 56-60 68 Imagen 16. Marcato en cuatro 72 Imagen 17. Marcato en dos. Ejemplo 1: El Andariego compases 32-35 73 Imagen 18. Marcato en dos. Ejemplo 2: Redención compases 56-60 74 Imagen 19. Marcato invertido. Ejemplo 1: El Andariego Compases 7 al 10
Load more

Recommended publications
  • 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.
    [Show full text]
  • Tango for Musicians at Reed College, June 19-26, 2016 Monday 20 Tuesday 21 Wednesday 22 Thursday 23 Friday 24
    Tango for Musicians at Reed College, June 19-26, 2016 Monday 20 Tuesday 21 Wednesday 22 Thursday 23 Friday 24 8:00 to 9:00 am breakfast breakfast breakfast breakfast breakfast 9:00 to 11:00 am strings . group a . ramiro gallo | PAB 105 | strings . group a strings . group a strings . group a Instrumental techniques strings . group b . ramiro gallo | PAB 104 | strings . group b strings . group b strings . group b References Classes will be divided into woodwinds . group a . paulina fain | PAB 231 | woodwinds . group a woodwinds . group a woodwinds . group a smaller groups in order to facilitate student learning. woodwinds . group b . paulina fain | PAB 233 | woodwinds . group b woodwinds . group b woodwinds . group b arranging vocals . sofía tosello | PAB 332 | vocals vocals vocals advanced arranging and composition bandoneon . group a . eva wolff | PAB 131 | bandoneon . group a bandoneon . group a bandoneon . group a parrilla (tango improvisation) bandoneon . group b . eva wolff | PAB 130 | bandoneon . group b bandoneon . group b bandoneon . group b specialized skills piano . group a . hernán possetti | PAB 232 | piano . group a piano . group a piano . group a history of tango piano . group b . hernán possetti | PAB 234 | piano . group b piano . group b piano . group b tango styles fundamentals guitar . group a . adam tully | PAB 223 | guitar . group a guitar . group a guitar . group a pedagogy guitar . group b . adam tully | PAB 222 | guitar . group b guitar . group b guitar . group b bass . group a . ignacio varchausky | PAB 320 | bass . group a bass . group a bass . group a classes open to auditors bass . group b .
    [Show full text]
  • 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.
    [Show full text]
  • ¡Che, Bandoneón! Por Lydia Orsi
    ¡Che, Bandoneón! Por Lydia Orsi (Tu canto...) esas ganas tremendas de llorar que a veces nos inundan sin razón y el trago de licor que obliga a recordar si el alma está en ‘orsay’, che, bandoneón Homero Manzi En el año 2000, la Legislatura de la Ciudad Autónoma de Buenos Aires, por Ley 366, instituyó el 11 de julio como «Día del Bandonéon» Juan Carlos Liberti: «Tango» No al azar es también el natalicio de Pardo”, cochero de oficio, (sus En la Boca, los Santa Cruz no Aníbal Troilo, uno de sus más fieles antepasados habían sido esclavos de la estuvieron solos, los bandoneonistas de cultores, ya que el Bandoneón, en el Río familia del mismo nombre). la Guardia Vieja hacían oír sus de la Plata tiene una rica historia de “Entonces, el Pardo Sebastián Ramos compases. Centrémonos en la “esquina intérpretes y de interpretaciones. era primer bandoneón ciudadano y del pecado”: Arturo Berstein (el Según una versión de la historia, este cochero de tranvías a caballos de la alemán), asombrando al malevaje al instrumento llegó a Buenos Aires en compañía Buenos Aires - Belgrano”. incorporar sus partituras. El Tano 1866. Los hermanos Juan y Domingo Santa Genaro (alumno de Ramos Mejía), junto Habría surgido de un músico alemán, Cruz (descendientes de esclavos al piano de Agustín Bardi, Juan Maglio Alejandro Band, cerca de 1835, en la libertos), propagaron su técnica, (Pacho), admirado también en Palermo ciudad de Krefeld, con fines litúrgicos Domingo es el autor de un testimonial ( CAFÉ LA PALOMA Y EL ya que acompañaba en la calle cánticos tango, allá, en 1904: “Unión Cívica” PABELLÓN DE LAS ROSAS) de de los fieles, por eso fue llamado por el incipiente partido al que quien nos dice Cadícamo: «órgano a bretel».
    [Show full text]
  • 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.
    [Show full text]
  • Leopoldo Federico, El Inefable Bandoneón Del Tango
    LEOPOLDO FEDERICO 22-07-2009.qxp 22/07/2009 16:38 PÆgina 5 Leopoldo Federico, el inefable bandoneón del tango Jorge Dimov y Esther Echenbaum Jonisz LEOPOLDO FEDERICO 22-07-2009.qxp 22/07/2009 16:38 PÆgina 6 Ilustración de portada: Hermenegildo Sábat Diseño: Kalil Llamazares Armado: Andrés Urtubey y Karina Marchese Corrección: Liliana Szwarcer Selección de viñetas: Esther Echenbaum Jonisz © Jorge Dimov y Esther Echenbaum Jonisz © Gourmet Musical Ediciones, 2009 1ra. edición: agosto de 2009 ISBN: 978-987-22664-5-5 Reservados todos los derechos de esta edición. Hecho el depósito que marca la ley 11.723. Prohibida la reproducción total o parcial de esta obra sin permiso escrito de la editorial. Gourmet Musical Ediciones Ruggieri 2733 3º C (C1425DLA) Buenos Aires, Argentina [email protected] www.gourmetmusicalediciones.com Dimov, Jorge Leopoldo Federico, el inefable bandoneón del tango / Jorge Dimov y Esther Echenbaum Jonisz. - 1a ed. - Buenos Aires : Gourmet Musical Ediciones, 2009. 280 p. + DVD ; 23x15 cm. ISBN 978-987-22664-5-5 1. Historia de la Música. 2. Tango. I. Echenbaum Jonisz, Esther II. Título CDD 780.982 LEOPOLDO FEDERICO 22-07-2009.qxp 22/07/2009 16:38 PÆgina 163 Capítulo 15 “Se dice de ti…”. Bandoneonistas “olvidados” en el tango: un sintético reconocimiento “Los muertos que vos matáis, gozan de buena salud”. Cita apócrifa de Don Juan Tenorio ( José Zorrilla). A aquellos hombres y mujeres argentinos olvidados por la historia, Arturo Jauretche los denominó “malditos” pues entendía que, a manera de maldición, un manto de olvido cubrió a muchas figuras de la cultura y de la política argentina.
    [Show full text]
  • A Performer's Guide to Astor Piazzolla's <I>Tango-Études Pour Flûte Seule</I>: an Analytical Approach
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2018 A Performer’s Guide to Astor Piazzolla's Tango-Études pour flûte seule: An Analytical Approach Asis Reyes 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/2509 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] A PERFORMER’S GUIDE TO ASTOR PIAZZOLLA'S TANGO-ÉTUDES POUR FLÛTE SEULE: AN ANALYTICAL APPROACH by ASIS A. REYES A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2018 © 2018 ASIS REYES All Rights Reserved ii A Performer’s Guide to Astor Piazzolla's Tango-Études pour flûte seule: An Analytical Approach by Asis A. Reyes This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts Date Professor Peter Manuel Chair of Examining Committee Date Professor Norman Carey Executive Officer Supervisory Committee: Antoni Pizà, Advisor Thomas McKinley, First Reader Tania Leon, Reader THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT A Performer’s Guide to Astor Piazzolla's Tango-Études pour flûte seule: An Analytical Approach by Asis A. Reyes Advisor: Antoni Pizà Abstract/Description This dissertation aims to give performers deeper insight into the style of the Tango- Études pour flûte seule and tango music in general as they seek to learn and apply tango performance conventions to the Tango-Études and other tango works.
    [Show full text]
  • Proyecto Salvaguardia De La Colección Horacio Loriente
    Proyecto Salvaguardia de la Proyecto Salvaguardia de Colección Horacio Loriente Horacio de Colección Salvaguardia Proyecto Colección Horacio Loriente Patrimonio Material e Inmaterial del Tango de Uruguay Marco conceptual Montevideo-Uruguay 2019 Proyecto Salvaguardia de Colección Horacio Loriente Horacio de Colección Salvaguardia Proyecto 1. Situación de las colecciones 2. Resumen del proyecto 3. Horacio Loriente 3.1 Síntesis biográfica 3.2 Entrevista a Horacio Loriente 3.3 Entrevista a Boris Puga 4. La Colección de Loriente, Gardel y Memoria del Mundo 4.1 Carlos Gardel 5. Contexto histórico cultural del tango en Uruguay 5.1 De la gestación del tango a la Guardia Vieja 5.2 De la Guardia Nueva a la Época Dorada de los años ´40 y ´50 5.3 De la crisis al resurgimiento contemporáneo 6. Montevideo ciudad matriz del tango 7. Fotos del proyecto Proyecto Salvaguardia de Colección Horacio Loriente Horacio de Colección Salvaguardia Proyecto Este proyecto amparado en la salvaguardia del patrimonio material e inmaterial del tango, apunta al rescate de una de las colecciones de tango más importantes que existen en el mundo. Encontrar un lugar seguro donde situarla, poner en valor el material y darle accesibilidad al público en general, será sin dudas un aporte al conocimiento continuo sobre el tango. 1. La situación de las colecciones Proyecto Salvaguardia de Colección Horacio Loriente Horacio de Colección Salvaguardia Proyecto Los coleccionistas son aficionados al tango que han dedicado su vida a la Al día de hoy, mucho material se ha perdido, pero gracias al trabajo investigación y a la adquisición de conocimiento, y objetos que tienen que solitario de algunos investigadores y coleccionistas, aún tenemos la ver con su gusto personal.
    [Show full text]
  • ARGENTINE TANGO, ITS ORIGINS and EVOLUTION by Eduardo Lazarowski
    ARGENTINE TANGO, ITS ORIGINS AND EVOLUTION By Eduardo Lazarowski Tango is one of the most beautiful, elegant, and sensual dance of modern times. It has its origins in South America on both sides of the Rio de la Plata, whih separates the Argentinean province of Buenos Aires (and its city-port by the same name) from Uruguay and its capital Montevideo. By 1870-1880, waves of immigrants mainly from Italy, but also from Spain, England, and central-eastern Europe, arrived to the ports of Buenos Aires and Montevideo attracted by the prospect of jobs. Cultures and dialects mixed at the Sunday parties of the poor in the suburban neighborhoods, where waltzes, polkas, mazurkas, and habaneras blended with black candombes and gaucho’s tonadas. Tango was born as a dance and music of the lower class, but gradually metamorphosed into a sensual, elegant dance that conquered Buenos Aires society and the rest of the world. The details of when, where, and how Tango happened are elusive. Technically speaking, tango was born around 1900, when well-structured compositions of a style definitively different from the habanera and other popular tunes were written for first time on the pentagram. Initially, tango was danced and played as a fast, happy, very rhythmic music that resembled that of marching bands, but by 1920- 1925 the genre had adopted elements of erudite music, evolving into a polyphonic kind with multiple musical subjects, accentuated phrasing, complex rhythm, and a rich melody, as it is The Orchestra of Osvaldo Pugliese. known today. A major event in this transformation was the incorporation of the bandoneón, a distant cousin of the accordion, into tango orchestras.
    [Show full text]
  • El Firulete 1
    August 2001 El Firulete 1 Volume 8 Issue 3 THE ARGENTINE TANGO MAGAZINE August 2001 AA CONFEDERACYCONFEDERACY OFOF DANCESDANCES TANGOTANGO PARTYINGPARTYING NEWNEW ORLEANSORLEANS STYLESTYLE TALESTALES OFOF TANGOTANGO HISTORYHISTORY THETHE GLORIOUSGLORIOUS YEARSYEARS OFOF THETHE SEXTETOSEXTETO TIPICOTIPICO PICKINGPICKING THETHE LOCKLOCK (STEP)(STEP) NONO FAULTFAULT TANGOTANGO DANCINGDANCING ThreeThree yearsyears beforebefore hishis 100th100th birthday,birthday, aa groupgroup ofof hishis loyalloyal followersfollowers havehave begunbegun thethe celebrationscelebrations $5.00 U.S.A. 2 El Firulete August 2001 BETTER THAN A VIDEO IMAGE Sr. Alberto PAZ, My name is Alejandro Laguna from Lisbon, Portugal. Ever since I read your tutorial Tango, Our We want you to sound off, whether it's to complain or to compliment. Or even if it's to elaborate on an article in our Dance, two and a half years ago, my vision of the publication. Here are the rules: (1) You must tell us your full name, but we won't print it if you so request; (2) you must give your Tango dance found a direction and an ideal that I complete address - even though we'll identify you only by the city and state- and your telephone number; and (3) we reserve share with you and from which I have learned a the right to edit letters for length and clarity or to withhold their publication. lot. I learned, from reading and imagining, things that not even in a video one could see. A DREADED BACK STEP IN TIME that the establishment of this policy followed a recent number of announcements by independent Sr. PAZ, I want to translate your articles to Editor, teachers who, for reasons of their own, are not Portuguese, and I want to include them on my Isolated within the landscape of this part of the Tango Controlling Association, and, a website for Tango Portugal.
    [Show full text]
  • Bellas Artes 75 Bibliografía General 81
    Eduardo Luis Criscuolo GOBIERNO DE LA CIUDAD DE BUENOS AIRES Jefe de Gobierno Dr. Aníbal Ibarra Vicejefa de Gobierno Lic. María Cecilia Felgueras Secretario de Cultura Lic. Jorge Telerman Subsecretario de Acción Cultural Sr. Javier Grosman Subsecretario de Industrias Culturales Lic. Ricardo Manetti Subsecretaria de Patrimonio Cultural Arq. Silvia Fajre Directora Instituto Histórico de la Ciudad de Buenos Aires Prof. Lidia González • 3 • BIBLIOGRAFÍA DE LA CIUDAD DE BUENOS AIRES © 2000 Instituto Histórico Avda. Córdoba 1556, 1º piso (1055) Buenos Aires, Argentina Dirección Editorial: Lidia González Coordinación de Edición: Lidia González Supervisión de Edición: Rosa De Luca Corrección: Rosa De Luca Norma Rolandi Susana Sprovieri Diseño Editorial: Jorge Mallo Fabio Ares • 4 • Eduardo Luis Criscuolo 2000 • 5 • BIBLIOGRAFÍA DE LA CIUDAD DE BUENOS AIRES • 6 • Eduardo Luis Criscuolo A mis nietas Wanda Paola, Marina y María Julia • 7 • BIBLIOGRAFÍA DE LA CIUDAD DE BUENOS AIRES • 8 • Eduardo Luis Criscuolo AGRADECIMIENTOS Considero justo y necesario expresar mi profundo agradecimiento a Juan Carlos Bucchioni, cuya amistad de muchos años me honra, y que no escatimó ningún esfuerzo en acercarme invalorables datos. Asimismo, quiero dejar constancia de la ayuda recibida —en su momento— de parte de los señores Antonio Baibiene, Alfredo Noceti, Horacio González y Enrique M. Mayochi; al personal de la Biblioteca Nacional de la República Argentina y de la Biblioteca del Congreso de la Nación y, por sobre todo, a la colaboración material y a las palabras de aliento del extinto amigo D. Ricardo T. Freixá, hacedor de cultura y un fiel enamorado de ésta, nuestra ciudad de Buenos Aires. Mi especial reconocimiento a la licenciada Liliana Barela de Balbi que, sin su gentil intervención, esta publicación no se hubiera llevado a cabo, como así también, al personal del Instituto Histórico.
    [Show full text]
  • Entrevista Osvaldo Pugliese DEF.EN
    Today we have an interview with Osvaldo Pugliese. When I met and interviewed him in Rotterdam in 1993, the great master was already 88 years old. He was the first artistic director of the Tango Department of the Rotterdam Conservatory. When he came to Rotterdam for the opening, I had the honour of accompanying him and performing for him. Unfortunately, I did not speak Spanish very well at that time, and Pugliese was already a little deaf, so his wife Lydia repeated my questions. Pugliese called me "Golden Helenita", something that made me proud. His great calm and his aura impressed me and accompanied me during my music studies, even after his sad death, 2 years later. Besides making music, Pugliese loved two things very much: telling jokes and dulce de leche, an Argentinean sweet that he ate by the spoonful. During our conversation, Pugliese choked on a slice of tangerine, which got stuck in his esophagus and it refused to budge. He was the only one who kept calm while everyone around him panicked. I ran out to buy sneezing powder. Fortunately, when I returned to the hotel room shortly after, the situation had been resolved and the piece of tangerine was now calmly in his stomach. Let us now listen to the words of Osvaldo Pugliese. Interview Osvaldo Pugliese - Interviewer: Thank you very much for the concert yesterday, I felt so alive! I wonder: Are you always composing music, do you always compose music? - Osvaldo Pugliese: Yes, yes…No (laughs) - Interviewer: Do you think that tango can renew itself? Is there a new generation in Buenos Aires? - Lydia Pugliese: She's asking you if tango can renew itself, if there is a new generation in Buenos Aires.
    [Show full text]