European Professors at the Cursos Latinoamericanos de Música Contemporánea: Two experiences – Piriápolis, 1974; Buenos Aires, 1977

2020 ◽  
Vol 17 (3) ◽  
pp. 329-345
Author(s):  
OMAR CORRADO
Keyword(s):  
Latin American ◽  
Music Composition ◽  
Buenos Aires ◽  
Contemporary Music ◽  
Critical Evaluation ◽  
Art Music ◽  
Compositional Techniques ◽  
Musical Life ◽  
Theoretical Perspectives ◽  
The One

AbstractBetween 1971 and 1989, fifteen editions of the Cursos Latinoamericanos de Música Contemporánea (Latin American Contemporary Music Courses) took place alternatively in five countries of the continent. These were intensive meetings concentrated in two weeks, consisting of classes, workshops, seminars, conferences, and concerts. One of the central concerns was contemporary art music composition, although an important space was also given to performance, technologies, innovative pedagogies, popular music, and musicology. Around 150 lecturers from different countries took part in the courses, among them, about forty-five were European. On the one hand, the courses aimed at providing updated information on contemporary international musical life. On the other hand, they encouraged its critical evaluation in relation to the history, culture, and concrete practices of Latin American musicians. This article analyses exchanges between Latin American and European musicians regarding compositional techniques, theoretical perspectives, repertoires, aesthetics, and ideological positions during the 1974 and 1977 editions of the Cursos.

Grupo de Renovacion Musical (1942–1948)

2018 ◽  
Author(s):  
Marysol Quevedo
Keyword(s):  
Latin American ◽  
Contemporary Music ◽  
Art Music ◽  
Igor Stravinsky ◽  
Future Generations ◽  
Sonata Form ◽  
Compositional Techniques ◽  
American Composers ◽  
Premature Deaths ◽  
The U.S

The Grupo de Renovacion Musical was a school of Cuban composers that emerged out of the Conservatorio Municipal de La Habana during the 1940s. The young composers were pupils of Spanish-born composer José Ardévol, who served as the leader and mentor of the group. After the premature deaths of Amadeo Roldán and Alejandro García Caturla (1939 and 1940 respectively), Ardévol took over some of their duties as music professor at the Conservatorio Municipal. Ardévol and his pupils saw a need for Cuban composers to focus on compositional techniques and strongly believed that all composers should master traditional compositional methods, such as traditional counterpoint, sonata form, and fugues (most commonly used by composers of the Baroque and Classical periods) in order to fully develop their music-writing abilities. They also rejected the obvious nationalism that Roldán and Caturla had popularised and that was also found in the works of many other Latin American composers from the previous generation. Instead, they preferred the neoclassical trends of Europe—mostly of France and Spain—with composers Igor Stravinsky and Manuel de Falla serving as their models. However, they never denied the importance of the legacy established by Roldán and Caturla for future generations of Cuban composers. The group acknowledged that Roldán and Caturla were visionaries in their own time, influential through their compositions, which brought Cuban music up to date with contemporary music developments in the U.S., Latin America, and Europe, and for introducing the use of traditional Cuban music elements to contemporary art music—particularly the use of rhythm and percussive instrumentation.

Pablo Neruda's Transnational Modernist Networks: Colombo-Madrid-London-Buenos Aires (1927–1933)

2017 ◽  
Vol 12 (2) ◽  
pp. 198-225
Author(s):  
Patricia Novillo-Corvalán
Keyword(s):  
Chamber Music ◽  
Latin American ◽  
Buenos Aires ◽  
Cultural Institutions ◽  
Complex Composition ◽  
British Colonial ◽  
The One ◽  
Composition Process ◽  
In Transit ◽  
Standing Question

This article positions Pablo Neruda's poetry collection Residence on Earth I (written between 1925–1931 and published in 1933) as a ‘text in transit’ that allows us to trace the development of transnational modernist networks through the text's protracted physical journey from British colonial Ceylon (now Sri Lanka) to Madrid, and from José Ortega y Gasset's Revista de Occidente (The Western Review) to T. S. Eliot's The Criterion. By mapping the text's diasporic movement, I seek to reinterpret its complex composition process as part of an anti-imperialist commitment that proposes a form of aesthetic solidarity with artistic modernism in Ceylon, on the one hand, and as a vehicle through which to interrogate the reception and categorisation of Latin American writers and their cultural institutions in a British periodical such as The Criterion, on the other. I conclude with an examination of Neruda's idiosyncratic Spanish translation of Joyce's Chamber Music, which was published in the Buenos Aires little magazine Poesía in 1933, positing that this translation exercise takes to further lengths his decolonising views by giving new momentum to the long-standing question of Hiberno-Latin American relations.

scholarly journals Shaping national memory: The beginning of memorizing Stevan Stojanovic Mokranjac in Serbian music (1919-1923)

Muzikologija ◽  
2017 ◽  
pp. 199-218
Author(s):  
Biljana Milanovic
Keyword(s):  
Art Music ◽  
The Other ◽  
Critical Examination ◽  
Dominant Group ◽  
Musical Life ◽  
National Memory ◽  
State Apparatus ◽  
Choral Society ◽  
The One ◽  
The City

The organization of musical life of Belgrade as the capital of the newly founded Kingdom of Serbs, Croats and Slovenes was characterized by efforts towards a material, economic and cultural consolidation of the city after a war disaster; thus the mapping of continuity with pre-war traditions acquired a special significance. The first joint performance of Belgrade choirs in peacetime conditions, organised by the Belgrade Choral Society (1919) and dedicated exclusively to Mokranjac?s output testified to that effect. Soon there followed four similar events (1922- 1923), and then a manifestation of the transfer of Mokranjac?s remains from Skopje to Belgrade (1923). The aim of this article is to examine these events as the first, though belated (due to war circumstances) cases of memorizing Mokranjac after his death in 1914. This research has taken into account the processes of canonization of Mokranjac that had begun even during his lifetime, and the critical examination of the canon is complemented by theoretical elements from memory studies, because these events are about a (re)interpretation of the canon of national art music through strategies of memorialization. Concerts and narratives that are directly related to them are marked as artistic memorials to Mokranjac; afterwards, I analyzed the commemoration ceremony itself. Considering the results of the analysis, I concluded that these were two types of memorizing Mokranjac, one of which was in the domain of the professional music elite, while the other one acquired the proportions of the national-state event. Accordingly, they also offered two kinds of national memory. On the one hand, the version presented by the representatives of the elite contributed to the canonization of Mokranjac and the creation of national memory within the dominant group in the field of music which, through its narrative about Mokranjac, expressed its own aesthetic orientation and reinforced its social positions. On the other hand, the mass gathering of various representatives of the state, civil institutions and citizens pointed to the apposite narratives of glorifying Mokranjac, while loading the ideology of the official state apparatus and putting memories of Mokranjac into desirable Yugoslav frameworks.

TWISTING THE ARM OF MICHAEL MAIERHOF: COMPOSER, PERFORMER, CONCERT ORGANISER

Tempo ◽  
2020 ◽  
Vol 75 (295) ◽  
pp. 85-93
Author(s):  
Thomas R. Moore
Keyword(s):  
Contemporary Music ◽  
Art Music ◽  
Personal History ◽  
Compositional Techniques ◽  
Music Scene ◽  
Musical History ◽  
German Art ◽  
Artistic Directors ◽  
German Composer

AbstractThe German composer Michael Maierhof took a curious and unusual path to becoming a professional composer, performer and concert organiser, one that gives him a unique perspective on the German art music scene. This interview with Maierhof took place on 17 January 2020 in Maierhof's apartment in Hamburg, Germany and forms part of my research into the artistic and socio-economic motivations that composers and artistic directors employ when utilizing a conductor. The interview explores his personal history, compositional techniques, and perspective on the course of contemporary musical history before going on to consider his views on conductor's responsibilities and their role in contemporary music.

scholarly journals Emurobome Idolor and the Discourse of Nigerian Art Music: A 60th Birthday Celebration

2020 ◽  
Vol 9 (1) ◽  
pp. 58-68
Author(s):  
David Bolaji
Keyword(s):  
Music Education ◽  
Music Composition ◽  
Art Music ◽  
Empirical Method ◽  
Compositional Techniques ◽  
African Music ◽  
Philosophical Perspective ◽  
Indigenous Music ◽  
Scholarly Publications ◽  
Birthday Celebration

This article focused on some of the contributions of Emurobome Idolor in the Nigerian music studies. His scholarly contributions cut across different areas of Art Music including Ethnomusicology, Music Composition, Conducting, African Music and Music education in Nigeria. This article identifies and acknowledges the ideological concept of Idolor’s Philosophy towards excellence. Also, this article justified and abstracted some musical attributes that he portrayed as a scholar in Nigerian Art music. Empirical method of research was used for this study, through the holistic overview of some of his scholarly publications and two of his art music compositions titled “Glory Hallelujah and Nigeria’ Otoro So Owan. Through abstractive analysis of these creative works, younger art composers will learn and acquire divers’ compositional techniques that can be used and adopted in promoting African indigenous music. Key Words: Hard Work, Philosophical Perspective, Art Music and African Music

scholarly journals KOMPOSISI KARAWITAN ISMUNING CAHYA: INTERPRETASI KEESAAN TUHAN MELALUI TOKOH SEMAR

2021 ◽  
Vol 20 (2) ◽  
pp. 157-167
Author(s):  
Danis Sugiyanto ◽  
Sigit Setiawan
Keyword(s):  
Music Composition ◽  
Contemporary Music ◽  
Research Work ◽  
Art Music ◽  
Works Of Art ◽  
The Creation ◽  
Artistic Research

This work is entitled "Ismuning Cahya", is a work of contemporary Javanese gamelan music composition with the theme "the form of the Oneness of God” represented by the wayang character, Semar. The purpose of the creation of this works is to prove the existence of contemporary music (gamelan), as a reference for gamelan students who are interested in creating works of art (music). The output of this artistic research work is in the form of works (both live and/ or audio documentation) and scientific works which contain the process of developing the works "Ismuning Cahya". From there, it is hoped that this work will be able to become a model for the creation of works of art, especially the creation of contemporary gamelan.  

Prudencio, Cergio (1955--)

2018 ◽  
Author(s):  
Camila Juarez
Keyword(s):  
Latin American ◽  
Buenos Aires ◽  
Contemporary Music ◽  
Music Festival ◽  
Avant Garde ◽  
Catholic University ◽  
Bolivian Altiplano ◽  
Guggenheim Foundation ◽  
Local Materials ◽  
Youth Orchestra

Cergio Prudencio was a composer, director, researcher, and teacher. He studied Latin American Contemporary Music Courses at the Bolivian Catholic University and participated in the Venezuelan National Youth Orchestra. Prudencio studied under Carlos Rosso, Alberto Villalpando, Rubén Vartañán, Coriún Aharonian, and José Antonio Abreu. He also served as a resident composer in Australia (1996), Germany (2001), and Italy (2007), was awarded a Guggenheim Foundation Fellowship (2008/9), and has received assignments from the Perth Festival (Australia, 1996), the Pro Helvetia Foundation (Switzerland, 1997), the Donaueschingen Musiktage Festival (Germany, 1999), the TaG Ensemble (Switzerland, 2001), the Buenos Aires Contemporary Music Festival (2003), and the Klangspuren Festival (Austria, 2009). Prudencio’s music establishes a dialogue between Andean and European avant-garde traditions. In 1980, Prudencio cofounded and directed the Experimental Orchestra of Indigenous Instruments (OEIN): an ideological, musical, and pedagogical project that asserts the Aimara music tradition from the Bolivian Altiplano by means of a contemporary expression. OEIN’s program links local materials and forms to procedural techniques from avant-garde contemporary music. The OEIN has achieved wide international renown, performing in Uruguay, Argentina, Brazil, Mexico and Colombia, as well as Germany, Austria, Switzerland, Australia, Italy, and Korea.

Ausentes presentes: Art Music from the Chilean Exile in the Anacrusa Festivals at the Goethe-Institute Santiago (1985–89)

2020 ◽  
Vol 17 (3) ◽  
pp. 361-380
Author(s):  
DANIELA FUGELLIE
Keyword(s):  
Latin American ◽  
Transfer Process ◽  
Cultural Diplomacy ◽  
Contemporary Music ◽  
Art Music ◽  
Free Expression ◽  
Military Dictatorship ◽  
Avant Garde ◽  
Musical Works ◽  
The 1960S

AbstractCreated in 1984, the Anacrusa Music Association organized concerts, workshops, and festivals of contemporary music in Chile during the last years of Pinochet's military dictatorship. Crucial for these events was the collaboration with the Goethe-Institute Santiago, which enabled a space for free expression within the repressive context of the dictatorship. This article explores the circulation and reception of musical works by Chilean composers living in exile performed in the 1985, 1987, and 1989 Anacrusa festivals. The trajectories of the pieces by three main figures of the politically engaged avant-garde of the 1960s – Gustavo Becerra-Schmidt, Sergio Ortega, and Fernando García – can be seen as a transfer process that involved the goals of West German cultural diplomacy in Chile, as well as the interaction between Anacrusa organizers, Latin American colleagues, and performers who returned from exile.

scholarly journals Using Ethno-Compositional Materials for Contemporary Music Composition: ‘Ovie’ E Flat Alto Saxophone and Piano Accompaniment as Musical Example

2020 ◽  
pp. 49-55
Author(s):  
Okafor, Justina Enoh
Keyword(s):  
Cultural Identity ◽  
Music Composition ◽  
Contemporary Music ◽  
Alto Saxophone ◽  
Compositional Techniques ◽  
Song Texts

The search for musico-cultural identity and nationalism in Africa as well as in Nigeria gave rise to the evolution of new compositional innovations which stemmed from the use of ethno-compositional materials drawn from such cultures for compositional purposes which are contemporary in structure, culturally oriented and globally relevant. Inresponse to this search, Nigerian Contemporary musicians and Art musicians/composers went back as it were to their ‘root’ giving birth to many contemporary compositions by various contemporary musicians and art musicians in Nigeria and Afr ica including other cultural clime. One of such contemporary composition is the musical example titled ‘Ovie’ for E flat Alto Saxophone and Piano accompaniment. In the musicological presentation of ‘Ovie’ for E flat Alto Saxophone and Piano accompaniment, the melodic structure/passage of the song texts ‘ovie’ was used as thematic mater ial to compose an entire work of 173 bars/measures. Presentation of information pertaining to its pre-compositional consideration and compositional techniques employed in the composition titled ‘ovie’ was discussed. Also literatures were reviewed to buttress facts where necessary.

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