Ryuji Kunimatsu Guitar Arrangement on the Oblivion by Astor Piazzolla: A Critical Analysis

This study examined the characteristics of Kunimatsu’s guitar arrangements in Astor Piazzolla’s Oblivion by comparing aspects of musical form, melody, and harmony. As with other arrangements’ performances, the primary motif of Astor Piazzola’sOblivion melodic theme in Kunimatsu guitar arrangement has always been played differently from the original version. This performance phenomenon could responsibly risk blurring the identification of structural boundaries within its musical form. The purpose of this study is to prove the basic construction of Oblivion melody, including its form structure and rhythmic characteristics, by comparing Kunimatsu’s arrangements against the composer’s original score. This study uses musicological research methods. The approaches applied in studying this work are analytical, theoretical, and comparative. This study compares the two data to reveal the musical forms and the differences in the primary motive rhythmic characteristics. The results of this study are findings of the Oblivion musical forms in both publications and the differences in primary motives rhythmic patterns in both sources. The difference in musical form is impressive, possibly caused by the insertion of auxiliary members. As a result, Kunamitsu arrangement includes using the two-part song form, originally a three-part song form. With the revelation of the original melodic structure that is clear from the results of this study, the musicians who will present the Oblivion will at least have the essential reference in their interpretation. This research contributes to expanding studies in classical guitar performance and musical forms and new approaches in textual musicological analysis that are still infrequent.

'Tango-Études' de Astor Piazzolla (1921 – 1992)

Astor Piazzolla deixou-nos uma obra peculiar com um estilo musical que combina os elementos do tango argentino com os da música clássica e do jazz americano que viria a marcar as décadas de 50 a 70 do século XX. Este estudo debruça-se sobre uma coleção de seis estudos escritos originalmente para flauta solo em 1987, designados por Astor Piazzolla Tango-Études. Na passagem do centenário do seu nascimento, assinalam-se os dois concertos que realizou em Portugal, o contexto e o impacto que tiveram na época nas cidades de Lisboa e Porto, onde atuou.

L’intervalle de quarte dans la musique d’Astor Piazzolla

Nous examinons dans cet article l’utilisation et l’origine de l’intervalle de quarte comme élément organisateur des hauteurs dans la musique du compositeur et bandonéoniste argentin Astor Piazzolla (1921–1992). Des exemples nous permettront de prendre contact avec une utilisation diversifiée de cet intervalle, soit mélodique ou harmonique, et d’en constater un emploi conscient et systématique. Une œuvre de jeunesse du compositeur où l’emploi de ces quartes est abondant nous permet de tisser un lien avec les leçons de Piazzolla avec Alberto Ginastera qui eurent lieu pendant l’élaboration de cette pièce, la musique de son professeur de cette période révélant elle-aussi d’importants usages de ces techniques quartales. Finalement, la fascination des deux compositeurs argentins pour Stravinski, et la présence de ces techniques quartales dans la musique du compositeur russe nous permet de déceler l’origine de ces techniques quartales dans la musique savante moderne.

WAS THE COMMANDER ABLE TO DANCE TANGO? (Essay not for fans of Astor Piazzolla)

The article continues the theme of musical associations, which are an integral part of the novels "The Twelve Chairs" and "The Golden Calf" by I. Ilf and E. Petrov. Musical images used in the novel allow creating a multifaceted world of events in which the characters of the novel live and act. On the pages of the novel there are musical images, covering a huge range of musical genres and forms. The article contains information about rare and forgotten music. Musical images, used by the authors of the novel, allow recreating a full view of the musical life of those years. The article has been illustrated with photos of rare musical editions from the author's collection.

Borges y la música

La relación de Borges con la música no es uno de los aspectos más conocidos dentro deluniverso borgeano. Este trabajo propone un recorrido por los diversos caminos en los que su obrase vincula con el ámbito musical, ya sea en los textos de milongas, su relación con el tango, la músicaclásica y sus pensamientos.El vínculo que se traza entre literatura y música pone en contacto su obra con importantes compositores e interpretes pertenecientes a diferentes géneros musicales, alcanzando uno de sus puntosculminantes cuando la poesía de Borges se encuentra con la música de Astor Piazzolla.

Gandini, Gerardo (1936–2013)

Gerardo Gandini was an Argentinean composer and pianist. Disciple and assistant of Alberto Ginastera in the late 1950s and 1960s, he obtained international recognition for his musical work, which comprised more than 120 works for orchestra, small ensembles, musical theatre, opera, and solo instruments. As a pianist, he took part in the last sextet founded and led by Astor Piazzolla. From then on he interpreted and recorded a number of tango arrangements, called ‘‘Postangos.’’ Gandini was also active as a disseminator of contemporary music in Argentina.