scholarly journals Pierre Boulez, Latin America, and the European Avant-Garde After 1950

2021 ◽  
Vol 6 (1) ◽  
Author(s):  
Cristina Losada
Keyword(s):  
Twentieth Century ◽  
Latin America ◽  
Latin American ◽  
Decisive Role ◽  
Musical Language ◽  
Pitch Organization ◽  
Latin American Music ◽  
Avant Garde ◽  
Pierre Boulez ◽  
Compositional Approach

Recognized as a critic, composer, teacher, conductor and impresario, Pierre Boulez left a huge footprint that defined the trajectory of European concert music during the second half of the twentieth century. With the composition of Le Marteau sans maître (1953–1955) and several subsequent works from the mid-1950s and early 1960s, he established himself as one of the most important composers in his artistic circle. His compositional approach changed radically during the course of this time period.  Although many of his pitch organization techniques were only unraveled several decades later, innovations with respect to other parameters of the musical language had a clear and immediate impact. Keeping this in mind, with this intentionally provocative title, I would like to discuss how Latin America played a decisive role in the career of this enormous figure of twentieth-century music.  After presenting a brief summary of his professional trajectory, I will discuss the three tours he made of Latin America at the beginning of the 1950s, which, considered within the frame of his interest in ethnomusicology, were crucial to his career. They gave him the space and inspiration for crucial innovations in his development as a composer. By reference to Boulez’s writings, and based on a critical reading of the works that reflect the influence of Latin American music, I will discuss how some of the most important changes in his musical language, like his emphasis on elements of contrast and resonance, were inspired by his experiences on this tour, as much, or more, than by more recognized influences, like Japanese and African music. This has some considerable implications, given that Boulez’s new musical language had tremendous impact on the development of the European avant-garde in the second half of the twentieth century. Haciendo referencia a los escritos del compositor y tomando como base una lectura crítica de las obras que reflejan la influencia que recibió de la música latinoamericana, discutiré cómo algunos de los cambios más importantes en su lenguaje musical fueron inspirados por las experiencias de Boulez en sus giras en esta región, tanto o más que por influencias más reconocidas, como la música japonesa y la música africana.  Esto tiene implicaciones importantes, dado a que el nuevo lenguaje musical de Boulez tuvo un impacto considerable en el desarrollo de la vanguardia europea después de la segunda guerra mundial.

Elites, Elite Settlements, and Revolutionary Movements in Latin America, 1950–1980: Introduction

1994 ◽  
Vol 18 (4) ◽  
pp. 543-574
Author(s):  
Timothy P. Wickham-Crowley
Keyword(s):  
Twentieth Century ◽  
Latin America ◽  
Latin American ◽  
American Politics ◽  
Social Revolution ◽  
Latin American Politics ◽  
Revolutionary Movements

Social revolutions as well as revolutionary movements have recently held great interest for both sociopolitical theorists and scholars of Latin American politics. Before we can proceed with any useful analysis, however, we must distinguish between these two related but not identical phenomena. Adapting Theda Skocpol’s approach, we can define social revolutions as “rapid, basic transformations of a society’s state and class structures; and they are accompanied and in part carried through by” mass-based revolts from below, sometimes in cross-class coalitions (Skocpol 1979: 4; Wickham-Crowley 1991:152). In the absence of such basic sociopolitical transformations, I will not speak of (social) revolution or of a revolutionary outcome, only about revolutionary movements, exertions, projects, and so forth. Studies of the failures and successes of twentieth-century Latin American revolutions have now joined the ongoing theoretical debate as to whether such outcomes occur due to society- or movement-centered processes or instead due to state- or regime-centered events (Wickham-Crowley 1992).

scholarly journals Latin American Universities: Stuck in the Twentieth Century

2017 ◽  
pp. 26-28 ◽  
Author(s):  
Marcelo Knobel ◽  
Andrés Bernasconi
Keyword(s):  
Higher Education ◽  
Twentieth Century ◽  
Latin America ◽  
Latin American ◽  
Education Sector ◽  
American Universities ◽  
Economic Progress ◽  
Flagship Universities ◽  
Latin American Universities

The higher education sector in Latin America has fallen short of its promise of spearheading cultural, social, and economic progress for the region. As higher education changes to meet the challenges on the new century, the few flagship universities of Latin America are called upon to lead. However, these universities face both internal and external obstacles that hinder their full modernization, threatening their leadership.

scholarly journals América Latina: cidades, memórias e esquecimentos sob o olhar da literatura

REVISTA PLURI ◽  
2019 ◽  
Vol 1 (1) ◽  
pp. 91
Author(s):  
Yvone Dias Avelino
Keyword(s):  
Twentieth Century ◽  
Social Movements ◽  
Latin America ◽  
Latin American ◽  
Civil Servants ◽  
The Real ◽  
American Novels ◽  
History And Literature ◽  
America Latina ◽  
American Authors

Este artigo formula algumas reflexões sobre a associação da história com a literatura. Estabelecemos alguns nexos com trabalhos literários de autores latino-americanos do século XX. Nas páginas desses romances latino-americanos desfilam os expoentes de toda uma estrutura de dominação: políticos, velhos aristocratas, oportunistas recém-chegados, fazendeiros truculentos, funcionários públicos subservientes, advogados venais, representantes do capitalismo local, dominados e dominantes. Mostram-nos os vários escritores latino-americanos as ditaduras na sua insanidade grotesca, as repressões cruentas que fazem emergir os movimentos sociais populares. Estão presentes as turbulências do real e imaginário, utilitário e mágico, da dúvida e perplexidade, memória e esperança, do esquecimento e da desesperança, do espelho e labirinto.Palavras-chave: História, Literatura, Espelho, Labirinto, América Latina.AbstractThis article proposes some reflections about the association between history and literature. We have established some links with literary works written by Latin American authors of the twentieth century. In the pages of these Latin American novels the exponents of a whole structure of domination are paraded: politicians, old aristocrats, opportunist newcomers, truculent farmers, subservient civil servants, venal lawyers, representatives of local capitalism, dominated and dominant ones. The various Latin American writers show us dictatorships in their grotesque insanity, the bloody repressions that allow popular social movements to emerge. They outline the turbulences of the real and imaginary, utilitarian and magical, doubt and perplexity, memory and hope, forgetfulness and hopelessness, mirror and labyrinth.Keywords: History, Literature, Mirror, Labyrinth, Latin America.

Sultanism

2021 ◽  
pp. 47-76
Author(s):  
Christopher M. Davidson
Keyword(s):  
Twentieth Century ◽  
Latin America ◽  
Middle East ◽  
Literature Review ◽  
Eastern Europe ◽  
Latin American ◽  
Max Weber ◽  
Sub Saharan Africa ◽  
Empirical Literature ◽  
Sub Saharan

To facilitate a comprehensive and up-to-date understanding of the concept of sultanism, this chapter provides a detailed theoretical and empirical literature review. Firstly, it considers the oriental origins of the concept, as applied by Max Weber and others to the Ottoman Empire and a number of South Asian examples. Secondly, it traces the emergence of ‘contemporary sultanism’, as applied by scholars to Latin American regimes from the mid-twentieth century and onwards. Thirdly, it explores the more recent concept of neo-sultanism and the development of a distinct international empirical category of autocratic-authoritarianism which includes: various Latin America regimes; some of the former communist republics of central Asia and Eastern Europe; and a number of regimes in sub-Saharan Africa and parts of Southeast Asia. Finally, it assesses the need to address the scholarly deficit in applying contemporary sultanism or neo-sultanism to the Middle East, and suggests that the present-day Saudi And UAE regimes may be strong examples.

Caribbean and Latin American Reverberations and the First Birth of Latin Jazz

Latin Jazz ◽  
2020 ◽  
pp. 36-63
Author(s):  
Christopher Washburne
Keyword(s):  
Twentieth Century ◽  
New Orleans ◽  
Social History ◽  
Latin American ◽  
Political Development ◽  
Formative Period ◽  
Latin American Music ◽  
The Social ◽  
History Of ◽  
Latin Jazz

This chapter documents the strong ties of the Caribbean and Latin America to the formative period of jazz and how that influence reverberated throughout the twentieth century. It argues that the strong foundational influence of Caribbean and Latin American music on pre-jazz styles makes the birth of jazz synchronous with the birth of Latin jazz. By building on the work of a number of scholars who have recently begun to tackle this complexity through historical studies of immigration patterns and the social and political development of New Orleans throughout the 1700s and 1800s and by conducting a “sonic archeology” of jazz styles throughout the twentieth century, reverberations of jazz’s pre-history are uncovered and shown to resound loudly. Along with a discussion of the social history of New Orleans, the focus is on the function of certain rhythmic cells in the jazz repertoire that are most typically associated with Caribbean and Latin American styles.

Paz, Juan Carlos (1897–1972)

2018 ◽  
Author(s):  
Violeta Nigro-Giunta
Keyword(s):  
Twentieth Century ◽  
Latin America ◽  
Chamber Music ◽  
Contemporary Music ◽  
New Music ◽  
Film Scores ◽  
Twelve Tone ◽  
Avant Garde ◽  
The Press ◽  
Traditional Institutions

Juan Carlos Paz (1897–1972) was an Argentine composer, critic, writer, and self-described "compositional guide" who played a key role in twentieth-century Argentine contemporary music. Known for his rebellious attitude towards traditional institutions and academia, and as an advocate of avant-garde music throughout his life, Paz was a pioneer in the use of the twelve-tone technique in Latin America. Paz founded such groups as Grupo Renovación [Renovation Group] and Asociación Nueva Música [New Music Association], both devoted to promoting and performing new music. Paz wrote music for solo instruments, chamber music, orchestra, and theatre, as well as film scores. He published three important books dedicated to new music and three volumes containing his memoirs, and collaborated intensively with the press and magazines (Crítica, Reconquista, Acción de Arte, La Protesta, La Campana de Palo, Argentina Libre, among others).

Boulez, Pierre (1925-2016)

2018 ◽  
Author(s):  
Jonathan Goldman
Keyword(s):  
Twentieth Century ◽  
Personal Development ◽  
Work Of Art ◽  
Going Public ◽  
Concert Music ◽  
Avant Garde ◽  
Central Concern ◽  
Pierre Boulez ◽  
History Of ◽  
Listening Habits

French composer Pierre Boulez was one of the most influential composers of the second half of the twentieth century. His personal development mirrored the history of Western concert music. An essential figure in the history of artistic modernism, he was perceived as a leader of the musical avant-garde since 1945. In addition, through his international career as a conductor, he sought to change the listening habits of the concert-going public by initiating them, through concerts and recordings, into the classics of modernism from the first half of the twentieth century (Stravinsky, Schoenberg, Webern, Bartók, Berg, etc.). From serialism, open forms, the interface between instrument and machine, the concern with perceptibility, Boulez’s catalog forms a rich and varied corpus. Although Boulez dispensed with total serialism after a brief but decisive period, his concern with the formal unity of a work of art remained a central concern throughout his career.

Régis Debray and the Latin American revolution of the XX century

2020 ◽  
Author(s):  
Mihail Kolesov
Keyword(s):  
Twentieth Century ◽  
Latin America ◽  
Young People ◽  
American Revolution ◽  
Latin American ◽  
Historical Context ◽  
Main Task ◽  
Wide Audience ◽  
Revolutionary Movement ◽  
French Writer

The main task of the author is to give a broad picture of the main processes of the revolutionary movement in several countries of Latin America of the XX century continental historical context. The author used primarily the original (Spanish) sources, among which a special place belongs to works by the famous French writer Régis Debray (Regis Debray). The book is intended for a wide audience, mainly for young people, for which the dramatic twentieth century already belongs to the annals of history.

scholarly journals From Scarlatti to “Guantanamera”: Dual Tonicity in Spanish and Latin American Musics

2002 ◽  
Vol 55 (2) ◽  
pp. 311-336 ◽  
Author(s):  
Peter Manuel
Keyword(s):  
Twentieth Century ◽  
Seventeenth Century ◽  
Latin American ◽  
Folk Music ◽  
American Music ◽  
Caribbean Basin ◽  
Latin American Music ◽  
Music Genres ◽  
Hispanic Caribbean

Abstract This essay explores the sense of dual tonicity evident in a set of interrelated Spanish and Latin American music genres. These genres include seventeenth-century Spanish keyboard and vihuela fandangos, and diverse folk genres of the Hispanic Caribbean Basin, including the Venezuelan galerón and the Cuban punto, zapateo, and guajira. Songs in these genres oscillate between apparent “tonic” and “dominant” chords, yet conclude on the latter chord and bear internal features that render such terminology inapplicable. Rather, such ostinatos should be understood as oscillating in a pendular fashion between two tonal centers of relatively equal stability. The ambiguous tonicity is related to the Moorish-influenced modal harmony of flamenco and Andalusian folk music; it can also be seen to have informed the modern Cuban son and the music of twentieth-century Cuban composer Amadeo Roldán.

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