Towards an Interactive Tango Milonga
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A Delicate Balance Negotiating Isolation and Globalization in the Burmese Performing Arts Catherine Diamond
A Delicate Balance Negotiating Isolation and Globalization in the Burmese Performing Arts Catherine Diamond If you walk on and on, you get to your destination. If you question much, you get your information. If you do not sleep and idle, you preserve your life! (Maung Htin Aung 1959:87) So go the three lines of wisdom offered to the lazy student Maung Pauk Khaing in the well- known eponymous folk tale. A group of impoverished village youngsters, led by their teacher Daw Khin Thida, adapted the tale in 2007 in their first attempt to perform a play. From a well-to-do family that does not understand her philanthropic impulses, Khin Thida, an English teacher by profession, works at her free school in Insein, a suburb of Yangon (Rangoon) infamous for its prison. The shy students practiced first in Burmese for their village audience, and then in English for some foreign donors who were coming to visit the school. Khin Thida has also bought land in Bagan (Pagan) and is building a culture center there, hoping to attract the street children who currently pander to tourists at the site’s immense network of temples. TDR: The Drama Review 53:1 (T201) Spring 2009. ©2009 New York University and the Massachusetts Institute of Technology 93 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram.2009.53.1.93 by guest on 02 October 2021 I first met Khin Thida in 2005 at NICA (Networking and Initiatives for Culture and the Arts), an independent nonprofit arts center founded in 2003 and run by Singaporean/Malaysian artists Jay Koh and Chu Yuan. -
Performance and Discourse of Musicality in Cuban Ballet Aesthetics
Smith ScholarWorks Dance: Faculty Publications Dance 6-24-2013 “Music in the Blood”: Performance and Discourse of Musicality in Cuban Ballet Aesthetics Lester Tomé Smith College, [email protected] Follow this and additional works at: https://scholarworks.smith.edu/dan_facpubs Part of the Dance Commons Recommended Citation Tomé, Lester, "“Music in the Blood”: Performance and Discourse of Musicality in Cuban Ballet Aesthetics" (2013). Dance: Faculty Publications, Smith College, Northampton, MA. https://scholarworks.smith.edu/dan_facpubs/5 This Article has been accepted for inclusion in Dance: Faculty Publications by an authorized administrator of Smith ScholarWorks. For more information, please contact [email protected] POSTPRINT “Music in the Blood”: Performance and Discourse of Musicality in Cuban Ballet Aesthetics Lester Tomé Dance Chronicle 36/2 (2013), 218-42 https://doi.org/10.1080/01472526.2013.792325 This is a postprint. The published article is available in Dance Chronicle, JSTOR and EBSCO. Abstract: Alicia Alonso contended that the musicality of Cuban ballet dancers contributed to a distinctive national style in their performance of European classics such as Giselle and Swan Lake. A highly developed sense of musicality distinguished Alonso’s own dancing. For the ballerina, this was more than just an element of her individual style: it was an expression of the Cuban cultural environment and a common feature among ballet dancers from the island. In addition to elucidating the physical manifestations of musicality in Alonso’s dancing, this article examines how the ballerina’s frequent references to music in connection to both her individual identity and the Cuban ballet aesthetics fit into a national discourse of self-representation that deems Cubans an exceptionally musical people. -
An Anthropological Perspective on Eastern and Western Folk Music
An Anthropological Perspective on Eastern and Western Folk Music Item Type text; Electronic Thesis Authors Gurczak, Adam Stanley Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 21:02:58 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/625002 AN ANTHROPOLOGICAL PERSPECTIVE ON EASTERN AND WESTERN FOLK MUSIC By ADAM STANLEY GURCZAK ____________________ A Thesis Submitted to The Honors College In Partial Fulfillment of the Bachelors Degree With Honors in Music Performance THE UNIVERSITY OF ARIZONA MAY 2017 Approved by: _________________________ Dr. Philip Alejo Department of Music EASTERN AND WESTERN FOLK MUSIC 1 TABLE OF CONTENTS ABSTRACT 2 ARTIST’S STATEMENT 2 INTRODUCTION 3 ARGENTINE TANGO 4 PRE-TANGO HISTORY: RISE OF THE GAUCHOS 5 A BORDELLO UPBRINGING 5 THE ROOTS AND RHYTHMS OF TANGO 8 A WORLDWIDE SENSATION 9 THE FOREFATHERS OF TANGO 11 CHINESE TRADITIONAL MUSIC 13 THE PHILOSOPHY OF MUSIC 14 INSTRUMENTS OF THE EARTH 16 THE SOUND OF SCHOLARS 18 KOREAN GUGAK 21 GUGAK: A NATIONAL IDENTITY 22 SHAMANS, SINAWI, AND SANJO 24 NOBLE COURTS AND FARMYARDS 28 AMERICAN BLUEGRASS 30 GRASSROOTS, BLUEGRASS, AND BLUES 30 THE POLYNATION OF BLUEGRASS 33 CONCLUSION 36 BIBLIOGRAPHY 37 EASTERN AND WESTERN FOLK MUSIC 2 ABSTRACT The birth of folk music has always depended on the social, political, and cultural conditions of a particular country and its people. -
Preparing Musicians Making New Sound Worlds
PREPARING MUSICIANS MAKING NEW SOUND WORLDS new musicians new musics new processes Compiled by Orlando Musumeci PREPARING MUSICIANS MAKING NEW SOUND WORLDS new musicians new musics new processes Proceedings of the SEMINAR of the COMMISSION FOR THE EDUCATION OF THE PROFESSIONAL MUSICIAN Escola Superior de Música de Catalunya – Barcelona – SPAIN 5-9 JULY 2004 Compiled by Orlando Musumeci Published by the Escola Superior de Música de Catalunya Catalan texts translated by Mariam Chaib Babou (except for Rosset i Llobet) Spanish texts translated by Orlando Musumeci (except for Estrada, Mauleón and Rosset i Llobet) Copyright © ISME. All rights reserved. Requests for reprints should be sent to: International Society for Music Education ISME International Office P.O. Box 909 Nedlands 6909, WA, Australia T ++61-(0)8-9386 2654 / F ++61-(0)8-9386-2658 [email protected] ISBN: 0-9752063-2-X ISME COMMISSION FOR THE EDUCATION OF THE PROFESSIONAL MUSICIAN DIANA BLOM [email protected] University of Western Sydney – AUSTRALIA PHILEMON MANATSA [email protected] Morgan Zintec – ZIMBABWE ORLANDO MUSUMECI (Chair) [email protected] Institute of Education – University of London – UK Universidad de Quilmes – Universidad de Buenos Aires – Conservatorio Alberto Ginastera – ARGENTINA INOK PAEK [email protected] University of Sheffield – UK VIGGO PETTERSEN [email protected] Stavanger University College – NORWAY SUSAN WHARTON CONKLING [email protected] Eastman School of Music – USA GRAHAM BARTLE (Special Advisor) [email protected] -
Dance, Senses, Urban Contexts
DANCE, SENSES, URBAN CONTEXTS Dance and the Senses · Dancing and Dance Cultures in Urban Contexts 29th Symposium of the ICTM Study Group on Ethnochoreology July 9–16, 2016 Retzhof Castle, Styria, Austria Editor Kendra Stepputat Copy-editors Liz Mellish Andriy Nahachewsky Kurt Schatz Doris Schweinzer ICTM Study Group on Ethnochoreology Institute of Ethnomusicology, University of Music and Performing Arts Graz Graz, Austria 2017 Symposium 2016 July 9–16 International Council for Traditional Music Study Group on Ethnochoreology The 29th Symposium was organized by the ICTM Study Group on Ethnochoreology, and hosted by the Institute of Ethnomusicology, University of Music and Perfoming Arts Graz in cooperation with the Styrian Government, Sections 'Wissenschaft und Forschung' and 'Volkskultur' Program Committee: Mohd Anis Md Nor (Chair), Yolanda van Ede, Gediminas Karoblis, Rebeka Kunej and Mats Melin Local Arrangements Committee: Kendra Stepputat (Chair), Christopher Dick, Mattia Scassellati, Kurt Schatz, Florian Wimmer Editor: Kendra Stepputat Copy-editors: Liz Mellish, Andriy Nahachewsky, Kurt Schatz, Doris Schweinzer Cover design: Christopher Dick Cover Photographs: Helena Saarikoski (front), Selena Rakočević (back) © Shaker Verlag 2017 Alle Rechte, auch das des auszugsweisen Nachdruckes der auszugsweisen oder vollständigen Wiedergabe der Speicherung in Datenverarbeitungsanlage und der Übersetzung vorbehalten. Printed in Germany ISBN 978-3-8440-5337-7 ISSN 0945-0912 Shaker Verlag GmbH · Kaiserstraße 100 · D-52134 Herzogenrath Telefon: 0049 24 07 / 95 96 0 · Telefax: 0049 24 07 / 95 96 9 Internet: www.shaker.de · eMail: [email protected] Christopher S. DICK DIGITAL MOVEMENT: AN OVERVIEW OF COMPUTER-AIDED ANALYSIS OF HUMAN MOTION From the overall form of the music to the smallest rhythmical facet, each aspect defines how dancers realize the sound and movements. -
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. -
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. -
The Barzakh of Flamenco: Tracing the Spirituality, Locality and Musicality of Flamenco from South of the Strait of Gibraltar
SIT Graduate Institute/SIT Study Abroad SIT Digital Collections Independent Study Project (ISP) Collection SIT Study Abroad Fall 2011 The aB rzakh of Flamenco: Tracing the Spirituality, Locality and Musicality of Flamenco From South of the Strait of Gibraltar Tania Flores SIT Study Abroad Follow this and additional works at: https://digitalcollections.sit.edu/isp_collection Part of the Dance Commons, Ethnomusicology Commons, and the Other Languages, Societies, and Cultures Commons Recommended Citation Flores, Tania, "The aB rzakh of Flamenco: Tracing the Spirituality, Locality and Musicality of Flamenco From South of the Strait of Gibraltar" (2011). Independent Study Project (ISP) Collection. 1118. https://digitalcollections.sit.edu/isp_collection/1118 This Unpublished Paper is brought to you for free and open access by the SIT Study Abroad at SIT Digital Collections. It has been accepted for inclusion in Independent Study Project (ISP) Collection by an authorized administrator of SIT Digital Collections. For more information, please contact [email protected]. The Barzakh of Flamenco: Tracing the Spirituality, Locality and Musicality of Flamenco from South of the Strait of Gibraltar Tania Flores Occidental College Migration and Transnational Identity: Fall 2011 Flores 2 Acknowledgments I could not have completed this project without the advice and guidance of my academic director, Professor Souad Eddouada; my advisor, Professor Taieb Belghazi; my professor of music at Occidental College, Professor Simeon Pillich; my professor of Islamic studies at Occidental, Professor Malek Moazzam-Doulat; or my gracious and helpful interviewees. I am also grateful to Elvira Roca Rey for allowing me to use her studio to choreograph after we had finished dance class, and to Professor Said Graiouid for his guidance and time. -
Toward a Redefinition of Musical Learning in the Saxophone Studios of Argentina
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 Toward a redefinition of musical learning in the saxophone studios of Argentina Mauricio Gabriel Aguero Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Aguero, Mauricio Gabriel, "Toward a redefinition of musical learning in the saxophone studios of Argentina" (2013). LSU Doctoral Dissertations. 2221. https://digitalcommons.lsu.edu/gradschool_dissertations/2221 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. TOWARD A REDEFINITION OF MUSICAL LEARNING IN THE SAXOPHONE STUDIOS OF ARGENTINA A Monograph Submitted to the Graduate Faculty of Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Mauricio Gabriel Agüero B.M., Universidad Nacional de Cuyo, 2005 M.M., University of Florida, 2010 December 2013 Acknowledgments This monograph would not have been possible without the help of many people. Most important, I want to thank to my Professor and advisor Griffin Campbell, who guided my studies at LSU for the last three years with his musical passion, artistry and great teaching ability. As a brilliant saxophonist and thoughtful educator, Professor Campbell has been an important mentor and role model for me. -
Rebranding Initiative
REBRANDING INITIATIVE Page 1 TABLE OF CONTENTS 1. History and Summary of Issues. 2. Review of Strengths and Weaknesses. 3. Suggested Actions Organized in the Following Categories: a. Board Structure b. Administrative Structure c. Financial d. Choir Structure and Performances e. Marketing 4. Current Mission and Vision Statements Page 2 HISTORY AND SUMMARY OF ISSUES The San Antonio Choral Society began in 1964. It’s original purpose was to provide a community based choir that would be large enough to sing master works and more difficult works than most church choirs could perform. The choir drew members from all over San Antonio (mostly from church choirs) and was an instant success. SACS continued in that mode until the 1990’s when the repertoire was expanded to include more popular music. In 1996, Broadway musicals were added for a “Pops” concert. The choir continued to be managed by a group of charter members until 2013 when a large number of charter members retired from the choir. At that time Jennifer Seighman was hired to be the artistic director for the choir. Jennifer began to raise the standard in terms of music quality, performance arrangement, singer’s skills and music education. Everyone enjoyed the new challenge. In addition, in 2014 the choir was the beneficiary of sizable funds from the estate of a deceased member that continued through 2016. Those funds have now ceased leaving the choir in a quandary as to how to deal with increased costs of operations and no clearly defined revenue source. The loss of funds has caused the officers to reassess our current situation and try to project what direction is needed for the future. -
The Intimate Connection of Rural and Urban Music in Argentina at the Beginning of the Twentieth Century
Swarthmore College Works Spanish Faculty Works Spanish 2018 Another Look At The History Of Tango: The Intimate Connection Of Rural And Urban Music In Argentina At The Beginning Of The Twentieth Century Julia Chindemi Vila Swarthmore College, [email protected] P. Vila Follow this and additional works at: https://works.swarthmore.edu/fac-spanish Part of the Spanish and Portuguese Language and Literature Commons Recommended Citation Julia Chindemi Vila and P. Vila. (2018). "Another Look At The History Of Tango: The Intimate Connection Of Rural And Urban Music In Argentina At The Beginning Of The Twentieth Century". Sound, Image, And National Imaginary In The Construction Of Latin/o American Identities. 39-90. https://works.swarthmore.edu/fac-spanish/119 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in Spanish Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. Chapter 2 Another Look at the History of Tango The Intimate Connection of Rural ·and Urban Music in Argentina at the Beginning of the Twentieth Century Julia Chindemi and Pablo Vila Since the late nineteenth century, popular music has actively participated in the formation of different identities in Argentine society, becoming a very relevant discourse in the production, not only of significant subjectivities, but also of emotional and affective agencies. In the imaginary of the majority of Argentines, the tango is identified as "music of the city," fundame ntally linked to the city of Buenos Aires and its neighborhoods. In this imaginary, the music of the capital of the country is distinguished from the music of the provinces (including the province of Buenos Aires), which has been called campera, musica criolla, native, folk music, etc. -
UNIVERSITY of CALIFORNIA, IRVINE Analysis of the Crossover
UNIVERSITY OF CALIFORNIA, IRVINE Analysis of the Crossover Between Ballroom and Ballet in Choreographic Works THESIS submitted in partial satisfaction of the requirements for the degree of MASTER FINE ARTS in Dance by Chanel Kostich Thesis Committee: Professor Alan Terricciano, Chair Associate Professor Tong Wang Assistant Professor Vitor Luiz 2020 © 2020 Chanel Kostich TABLE OF CONTENTS ACKNOWLEDGMENTS iii ABSTRACT OF THE THESIS iv INTRODUCTION 1 CHAPTER 1: Dance Autobiography 3 CHAPTER 2: Synopsis & Timeline of the Three Works 7 NYC Ballet: “Vienna Waltzes” 7 Grupo Corpo: “Grande Waltz” 11 Tango Pasión: “Argentine Tango Duet” 16 CHAPTER 3: Contextualizing the Interview with Rodrigo Pedernerias 20 CHAPTER 4: Heat of the Night: A Choreographic Thesis Film 22 Reflection of Thesis Project 30 Appendix 1: MethodoLogy Movement 32 American Smooth Tango Argentine Tango Ballet in Tango Pasión Bolero, Ballet, and Argentine Tango Viennese Waltz Appendix 2: Interview with Rodrigo Pederneiras 39 Appendix 3: Collaborative Design, Copyright Information, Contents of the Music 50 Works Cited 54 ii ACKNOWLEDGEMENTS I want to start by expressing immense gratitude for my thesis chair, Alan Terricciano. Thank you for your encouragement to experiment and be creative within this research process and for your continued patience as we worked through those choices together. Our discussions were always meaningful and impactful to this work, as weLL as to me as a graduate student. I appreciate your kindness, advice, and enthusiasm towards my creative work as we coLLaborated throughout this research process. I would like to thank my thesis committee members Professor Tong Wang and Professor Vitor Luiz for your encouragement and guidance.