Faces of Tango
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Is a Genre of Dance Performance That Developed During the Mid-Twentieth
Contemporary Dance Dance 3-4 -Is a genre of dance performance that developed during the mid-twentieth century - Has grown to become one of the dominant genres for formally trained dancers throughout the world, with particularly strong popularity in the U.S. and Europe. -Although originally informed by and borrowing from classical, modern, and jazz styles, it has since come to incorporate elements from many styles of dance. Due to its technical similarities, it is often perceived to be closely related to modern dance, ballet, and other classical concert dance styles. -It also employs contract-release, floor work, fall and recovery, and improvisation characteristics of modern dance. -Involves exploration of unpredictable changes in rhythm, speed, and direction. -Sometimes incorporates elements of non-western dance cultures, such as elements from African dance including bent knees, or movements from the Japanese contemporary dance, Butoh. -Contemporary dance draws on both classical ballet and modern dance -Merce Cunningham is considered to be the first choreographer to "develop an independent attitude towards modern dance" and defy the ideas that were established by it. -Cunningham formed the Merce Cunningham Dance Company in 1953 and went on to create more than one hundred and fifty works for the company, many of which have been performed internationally by ballet and modern dance companies. -There is usually a choreographer who makes the creative decisions and decides whether the piece is an abstract or a narrative one. -Choreography is determined based on its relation to the music or sounds that is danced to. . -
Buenos Aires, Mecca of Tango: Activation Processes, Mega Cultural Events, Tourism and Dilemmas in the Local Heritage1
BUENOS AIRES, MECCA OF TANGO: ACTIVATION PROCESSES, MEGA CULTURAL EVENTS, TOURISM AND DILEMMAS IN THE LOCAL HERITAGE1 PhD. Hernán Morel CONICET-UBA/FFyL [email protected] ABSTRACT In this paper, we go through the history of the construction of tango as heritage. The period analyzed here begins in the late 90's and extends until 2010. We analyze the factors underlying the cultural policies that came to surface after the "turn" of tango as heritage in Buenos Aires, that is to say, after the activation and promotion of this popular genre on part of the political power (Morel 2009). Through a process analysis, we outline the official efforts behind this recognition. Simultaneously, we examine the impact of tourism as a decisive factor in the political-cultural approaches of the successive administrations. Our aim is especially focused on two main aspects: first, we highlight the heritage-driven policies that went along with the activation process of this genre, and, secondly, we note the consolidation of the cultural policies and actions which had to do, mainly, with the organization of tango events in relation to the promotion of tourism in the city. Under this framework, we explore the negotiations and disputes which, later on, led to the creation of the Buenos Aires Tango Festival and its institutionalization within the official cultural program. Keywords: political heritage, festivals, tourism, tango. RESUMEN En este artículo nos proponemos realizar un recorrido por la trayectoria de construcción patrimonial del tango, abordando el período que abarca desde fines de la década de los 90 hasta el año 2010. -
Types of Dance Styles
Types of Dance Styles International Standard Ballroom Dances Ballroom Dance: Ballroom dancing is one of the most entertaining and elite styles of dancing. In the earlier days, ballroom dancewas only for the privileged class of people, the socialites if you must. This style of dancing with a partner, originated in Germany, but is now a popular act followed in varied dance styles. Today, the popularity of ballroom dance is evident, given the innumerable shows and competitions worldwide that revere dance, in all its form. This dance includes many other styles sub-categorized under this. There are many dance techniques that have been developed especially in America. The International Standard recognizes around 10 styles that belong to the category of ballroom dancing, whereas the American style has few forms that are different from those included under the International Standard. Tango: It definitely does take two to tango and this dance also belongs to the American Style category. Like all ballroom dancers, the male has to lead the female partner. The choreography of this dance is what sets it apart from other styles, varying between the International Standard, and that which is American. Waltz: The waltz is danced to melodic, slow music and is an equally beautiful dance form. The waltz is a graceful form of dance, that requires fluidity and delicate movement. When danced by the International Standard norms, this dance is performed more closely towards each other as compared to the American Style. Foxtrot: Foxtrot, as a dance style, gives a dancer flexibility to combine slow and fast dance steps together. -
'What Ever Happened to Breakdancing?'
'What ever happened to breakdancing?' Transnational h-hoy/b-girl networks, underground video magazines and imagined affinities. Mary Fogarty Submitted in partial fulfillment Of the requirements for the degree of Interdisciplinary MA in Popular Culture Brock University St. Catharines, Ontario © November 2006 For my sister, Pauline 111 Acknowledgements The Canada Graduate Scholarship (SSHRC) enabled me to focus full-time on my studies. I would also like to express my deepest gratitude to my committee members: Andy Bennett, Hans A. Skott-Myhre, Nick Baxter-Moore and Will Straw. These scholars have shaped my ideas about this project in crucial ways. I am indebted to Michael Zryd and Francois Lukawecki for their unwavering kindness, encouragement and wisdom over many years. Steve Russell patiently began to teach me basic rules ofgrammar. Barry Grant and Eric Liu provided comments about earlier chapter drafts. Simon Frith, Raquel Rivera, Anthony Kwame Harrison, Kwande Kefentse and John Hunting offered influential suggestions and encouragement in correspondence. Mike Ripmeester, Sarah Matheson, Jeannette Sloniowski, Scott Henderson, Jim Leach, Christie Milliken, David Butz and Dale Bradley also contributed helpful insights in either lectures or conversations. AJ Fashbaugh supplied the soul food and music that kept my body and mind nourished last year. If AJ brought the knowledge then Matt Masters brought the truth. (What a powerful triangle, indeed!) I was exceptionally fortunate to have such noteworthy fellow graduate students. Cole Lewis (my summer writing partner who kept me accountable), Zorianna Zurba, Jana Tomcko, Nylda Gallardo-Lopez, Seth Mulvey and Pauline Fogarty each lent an ear on numerous much needed occasions as I worked through my ideas out loud. -
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. -
Articulation from Wikipedia, the Free Encyclopedia
Articulation From Wikipedia, the free encyclopedia Examples of Articulations: staccato, staccatissimo,martellato, marcato, tenuto. In music, articulation refers to the musical performance technique that affects the transition or continuity on a single note, or between multiple notes or sounds. Types of articulations There are many types of articulation, each with a different effect on how the note is played. In music notation articulation marks include the slur, phrase mark, staccato, staccatissimo, accent, sforzando, rinforzando, and legato. A different symbol, placed above or below the note (depending on its position on the staff), represents each articulation. Tenuto Hold the note in question its full length (or longer, with slight rubato), or play the note slightly louder. Marcato Indicates a short note, long chord, or medium passage to be played louder or more forcefully than surrounding music. Staccato Signifies a note of shortened duration Legato Indicates musical notes are to be played or sung smoothly and connected. Martelato Hammered or strongly marked Compound articulations[edit] Occasionally, articulations can be combined to create stylistically or technically correct sounds. For example, when staccato marks are combined with a slur, the result is portato, also known as articulated legato. Tenuto markings under a slur are called (for bowed strings) hook bows. This name is also less commonly applied to staccato or martellato (martelé) markings. Apagados (from the Spanish verb apagar, "to mute") refers to notes that are played dampened or "muted," without sustain. The term is written above or below the notes with a dotted or dashed line drawn to the end of the group of notes that are to be played dampened. -
AP Music Theory Course Description Audio Files ”
MusIc Theory Course Description e ffective Fall 2 0 1 2 AP Course Descriptions are updated regularly. Please visit AP Central® (apcentral.collegeboard.org) to determine whether a more recent Course Description PDF is available. The College Board The College Board is a mission-driven not-for-profit organization that connects students to college success and opportunity. Founded in 1900, the College Board was created to expand access to higher education. Today, the membership association is made up of more than 5,900 of the world’s leading educational institutions and is dedicated to promoting excellence and equity in education. Each year, the College Board helps more than seven million students prepare for a successful transition to college through programs and services in college readiness and college success — including the SAT® and the Advanced Placement Program®. The organization also serves the education community through research and advocacy on behalf of students, educators, and schools. For further information, visit www.collegeboard.org. AP Equity and Access Policy The College Board strongly encourages educators to make equitable access a guiding principle for their AP programs by giving all willing and academically prepared students the opportunity to participate in AP. We encourage the elimination of barriers that restrict access to AP for students from ethnic, racial, and socioeconomic groups that have been traditionally underserved. Schools should make every effort to ensure their AP classes reflect the diversity of their student population. The College Board also believes that all students should have access to academically challenging course work before they enroll in AP classes, which can prepare them for AP success. -
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 . -
Escúchame, Alúmbrame. Apuntes Sobre El Canon De “La Música Joven”
ISSN Escúchame, alúmbrame. 0329-2142 Apuntes de Apuntes sobre el canon de “la investigación del CECYP música joven” argentina entre 2015. Año XVII. 1966 y 1973 Nº 25. pp. 11-25. Recibido: 20/03/2015. Aceptado: 5/05/2015. Sergio Pujol* Tema central: Rock I. No caben dudas de que estamos viviendo un tiempo de fuerte interroga- ción sobre el pasado de lo que alguna vez se llamó “la música joven ar- gentina”. Esa música ya no es joven si, apelando a la metáfora biológica y más allá de las edades de sus oyentes, la pensamos como género desarro- llado en el tiempo según etapas de crecimiento y maduración autónomas. Veámoslo de esta manera: entre el primer éxito de Los Gatos y el segundo CD de Acorazado Potemkin ha transcurrido la misma cantidad de años que la que separa la grabación de “Mi noche triste” por Carlos Gardel y el debut del quinteto de Astor Piazzolla. ¿Es mucho, no? En 2013 la revista Rolling Stone edición argentina dedicó un número es- pecial –no fue el primero– a los 100 mejores discos del rock nacional, en un arco que iba de 1967 a 2009. Entre los primeros 20 seleccionados, 9 fueron grabados antes de 1983, el año del regreso de la democracia. Esto revela que, en el imaginario de la cultura rock, el núcleo duro de su obra apuntes precede la época de mayor crecimiento comercial. Esto afirmaría la idea CECYP de una época heroica y proactiva, expurgada de intereses económicos e ideológicamente sostenida en el anticonformismo de la contracultura es- tadounidense adaptada al contexto argentino. -
Entrevista Antonio Agri Antonio Agri
Entrevista Antonio Agri Antonio Agri: Es muy difícil en Argentina, la Argentina es muy difícil. Entrevistadora: ¿Y por qué cambió? ¿Por Menem? ¿por todo el gobierno? ¿eso? Antonio Agri: No, no, nunca. Siempre, antes de Menem también, si con Piazzolla hemos sufrido horrores. Nosotros con Piazzolla no trabajábamos nada, nos mordíamos la liebre con Astor, una mentira total. Piazzolla por eso se tuvo que ir también. Entrevistadora: Porque acá no dan plata para la cultura. Antonio Agri: No, aparte es… cuando uno intenta hacer algo que es de cierta calidad no sirve, en este país no sirve. La mediocridad es muy grande, o sea, en Europa también existe la mediocridad. Pero el que vale tiene lugar. Acá el que vale no tiene ningún lugar por eso no hay nadie, o sea, hay gente que se merece estar en algún lugar y no tiene dónde trabajar. Entrevistadora: Por eso ya viajaron a Japón ¿no? Antonio Agri: Sí, fuimos y ya nos contactaron otra vez, pero vamos a lugares, digamos, como si fuera… Allá se sorprendieron todos “¿Pero cómo es un conjunto de cámara?” y va con la noticia, claro. Y tocamos los mismos areglos que se han tocado siempre. La música popular, sacando honrosas excepciones, la cuestión matices, no. Un director de sinfónica acá nos decía:“ No se olviden nunca que los músicos malos tocan fuerte. Solamente músicos buenos tocan bien.” Entrevistadora: Sí, sí. Antonio Agri: Es muy difícil, muy difícil. Bueno, usted dirá. Entrevistadora: Bueno. Yo tengo una pregunta quizás un poco grave, pero yo soy de ascendiente judía y escuché mucho la música klezmer ¿no? Y ahora escuchando el violín en el tango yo me pregunté o me pareció que el estilo o la especie de rubato, de llegar a la nota con glissando me hace recordar mucho la música que conozco allá del este. -
Al Son De La Clave: El 3+3+2 En El Tango Las Décadas Del 20, 30 Y 40 Pablo Mitilineos Clang (N.° 4), Pp
artículos AL SON DE LA CLAVE: EL 3+3+2 EN EL TANGO LAS DÉCADAS DEL 20, 30 Y 40 Pablo Mitilineos Clang (N.° 4), pp. 55-68, abril 2016 ISSN 2524-9215 Al son de la clave: el 3+3+2 en el tango LAS DÉCADAS DEL 20, 30 Y 40 Pablo Mitilineos [email protected] Facultad de Bellas Artes. Universidad Nacional de La Plata. Argentina RESUMEN En la «Tercera Guardia» del tango, desde 1949 en adelante, dentro de la corriente que llamamos «Tango de vanguardia», estudiamos la clave afroamericana «3+3+2» como un elemento estructural de muchas compo- siciones de referentes, como Astor Piazzolla y Eduardo Rovira. Este artículo surge a partir de la investigación sobre el origen de este material y las transformaciones a través de la historia del tango. Más allá de las vincula- ciones altamente consensuadas con las sonoridades africanas desarrolladas en el Río de la Plata desde la época colonial y con el género milonga du- rante el siglo XIX, en el estudio realizado se identificaron otras apariciones de gran importancia textural en versiones de tangos grabadas durante las décadas del veinte, del treinta y del cuarenta. PALABRAS CLAVE Tango de vanguardia, claves afroamericanas, Piazzolla, Rovira Clang Año 4 | N.°4 | ISSN 2524-9215 55 Enseñar música popular no es tarea sencilla. y único» (2014: s/p). Esa línea de trabajo es la No lo era antes y tampoco ahora que existen que intentamos seguir en nuestras clases y en importantes experiencias en instituciones de nuestros trabajos académicos. Actualmente, en enseñanza formal terciaria y universitaria. -
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.