Avant-Garde, Internationalism, and Politics: Argentine Art in the Sixties (Latin America Otherwise)

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Since the beginning of I had not written a single note. That was terrible, since the crisis happened at the highpoint of my career. However, by the end of the decade the fundraising had become much more pressing and time consuming, the censorship in Argentina of his opera Bomarzo had disillusioned him about his own country, and his relationship with his family had deteriorated, leading to his separation from his first wife, Mercedes del Toro. By looking at what Schwartz-Kates has called "a traumatic period in the composer's life" resulting in "artistic paralysis," this paper uses correspondence and interviews with Ginastera's family and students to add to our understanding of his life during this decade, which resulted in his permanent move to Europe in In broader terms, this paper emphasizes looking at composition both as labor, and as part of everyday life, directly affecting compositional output and representations of musical and political selves.

In , Guido and Torcuato S. Di Tella—both under 30 years old and sole heirs of the largest industrial emporium of Argentina— decided to push forward a plan to make Buenos Aires a center for the artistic avant-garde, and used a significant part of their family fortune to create the Torcuato Di Tella Institute. By mixing oral history with ethnographic research, this paper examines the ways in which avant-garde music—and art in general—was relevant to the Di Tella family at a time when they were in the process of reconfiguring their elite identity. My investigation shows the complex and often contradictory positions of Guido and Torcuato S.

Di Tella as they legitimized their status and made the Di Tella name be associated not just with refrigerators and automobiles, but with the contemporary art world. This work combines ethnomusicological research with theoretical frameworks from elite studies to provide a better understanding of the role of avant-garde art in the consolidation of elite status while still considering them dynamic and heterogeneous. By tracing the constitutive actor-networks that led to these grants, my paper seeks to destabilize the concept of philanthropy as a preexisting third force located between the public and private sector Fisher Instead it presents it as an emerging domain, the result of complex entanglements, webs of relations and ideas that are mediated and enacted as the result of human, institutional, technological, discursive, and material actors Latour This project illuminates the relationships between foreign policy, corporate interests, and funding for the arts in the mid-twentieth century, and brings to the foreground the part played by individuals in actually existing philanthropy.

Nevertheless, the local press announced his arrival with excitement and gave ample coverage to his stay, including his lecture-recital "New Principles of Musical Composition". The interdisciplinary character and scientificist language in which Xenakis's work was framed—mathematics, architecture, and computer-aided composition—stimulated the imagination of the public in Buenos Aires regarding the relationship between art and science, and resonated with a modernizing discourse that looked to establish relations between artistic production, technology, and Argentina's industrial development.

At the CLAEM, Xenakis offered a course titled "Stochastic, Strategic, and Symbolic Music", in which he shared his experiences with theories of probability and computer-aided composition, focusing on his series of works titled with the prefix ST.

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However, the interactions went beyond the classroom, and included long discussions with composers, socialization, and time for leisure. The first two, Homo sapiens and Homo faber, were certainly at the vanguard of tango music, aligned with the emerging s Tango Nuevo and its main representative Astor Piazzolla. However, in Homo ludens I and II, the score asks the musicians to spontaneously choose and repeat at will one of several short motivic cells with only brief moments of synchronized playing among them, taking instrumental tango-making to its fringes.

He became a full time classical music composer, a free improviser and an active participant of Buenos Aires's most important electronic music studio. Today, disillusioned with all avant-garde aesthetics, he has become very critical of the push for the destruction of musical paradigms during the zenith of avant-garde composition. His story provides an unconventional insight to the embrace and rejection of avant-garde aesthetics in the southern cone.

Eduardo Herrera Rutgers University. About Me. Selected Publications and Presentations You can also visit my page at Academia.

Filter by type:. Sort by year:. Book Work in Progress In short, we are as interested in the performativity of musical experimentalism what happens when experimentalisms happen as we are in the performativity of the actions of those who may make experimental music what happens when experimental musicians act as such Our adoption of a plural "experimentalisms" points at a purposeful decentering of its usual U.

Journal Article Ethnomusicology 62, no. Abstract In local Argentine soccer matches one can find anywhere between two hundred to fifty thousand people chanting together, accompanied by large ensembles of percussion and brass instruments. Abstract During the s and s, many composers began exploring the possibilities provided by commercially available magnetic tape recording and electronically produced sound. Journal Article American Music 35, no.


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Abstract In the beginning of the s the Rockefeller Foundation gave two significant grants towards the study of Latin American music. Abstract Within the world's current geopolitical configuration, Latin American creative acts tend to have fewer opportunities to become viable cultural models, and easily succumb to models coming from more powerful regions. However, they have left unexplored how these chants become meaningful beyond text and beyond genealogy.

Electroacoustic Music At CLAEM: A Pioneer Studio in Latin America - Dimensions

My research proposes that ethnomusicology can significantly contribute to the study of chants by exploring the specific potentials that participatory moving and sounding-in-synchrony brings into experience. I argue that public mass participatory singing allows fans to actively partake in a performative social space that frames heteronormative, patriarchal, homophobic, and sometimes violent values and actions in a positive manner.

Participatory music making, while often studied under the lens of the positive socializing that it can generate, can also be conducive to patterns of behavior associated with states of deindividuation, such as decreased self-awareness, arousal, intense feelings of group belonging, recognition of anonymity, diffused responsibility, and lack of accountability.

This study sheds important light on how chanting functions as a type of collective action akin to mass ritual and how synchronized sounding and moving in public spaces—specifically, in the stadium—can potentially relate to similar collective performances in political rallies, religious activities, and protest movements. During the s and s, many composers began exploring the possibilities provided by commercially available magnetic tape recording and electronically produced sound.

Its main objective is to provide a historical account of pioneering work in Latin American electroacoustic music, and give insight into local intricacies of following, consuming, and rearticulating international musical models engaged with technology, experimentation, and the broader avant-garde. In the beginning of the s the Rockefeller Foundation gave two significant grants towards the study of Latin American music.

Sponsored by John P. Harrison, Assistant Director for Humanities at the Rockefeller Foundation, their aim was to help the creation of institutions that would provide a sustaining environment in which cultural work may flourish.

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By tracing the constitutive networks that led to the CLAEM and LAMC grants, this article seeks to destabilize the concept of philanthropy as a preexisting third space between the private and public sectors, and instead argues that for its examination as an emerging domain that results from complex entanglements, webs of relations and ideas, all being mediated and enacted as the result of human, institutional, discursive, and even material actors. This project illuminates the relationships between foreign policy, corporate interests, and funding for the arts in the mid-twentieth century, and brings to the foreground the part played by individuals in actual existing philanthropy.

In this article, an homage on his 70th birthday, I provide a biography that connects his historical context to his musical production, and explain the tenacious manner in which his compositions looks to incorporate seamlessly aspects of politics, ethics and ideology. Within the world's current geopolitical configuration, Latin American creative acts tend to have fewer opportunities to become viable cultural models, and easily succumb to models coming from more powerful regions.

These show an application of the idea of austerity to pitch content, timbre, rhythmic and melodic figures, and notation; two main ways of generating non—discursive syntax high sectionalization and stratification ; and finally the use of microprocesses as means for development of material including the use of microtonalism, microvariations and recontextualization. This essay presents a reflection on the discursive practices and the power structures that give shape to the labor of composing in the Latin American classical music tradition by the end of the 20th and beginning of the 21st centuries.

In a regular Argentine soccer club match one can find between five to sixty thousand fans chanting together, accompanied by large drum and brass sections. The opposing players and fans are often the target of androcentric, heteronormative, and even homophobic songs.

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Archetti , foregrounded the role that Argentine soccer had in the performance of a nationalist masculinities, while Kopiez and Brink and more recently Alabarces have paid particular attention to the layers of meaning embedded in chants that originate in familiar popular melodies and are given altered or new words. While these researchers have delved into chant texts and their metaphorical implications, they have left unexplored the specific potentials that participatory sounding in synchrony brings to this experience.

In this paper I argue that public mass participatory singing in the stadium functions as a social mechanism that articulates anxieties about non-heteronormative sexuality. Chanting in massive numbers allows for the public utterance of expressions, slurs, and profanity that most people might refrain to use individually. This research bears wide-ranging implications for our understanding of the potentials of participatory sound and music making in public arenas.

Since the beginning of I had not written a single note. That was terrible, since the crisis happened at the highpoint of my career. However, by the end of the decade the fundraising had become much more pressing and time consuming, the censorship in Argentina of his opera Bomarzo had disillusioned him about his own country, and his relationship with his family had deteriorated, leading to his separation from his first wife, Mercedes del Toro. By looking at what Schwartz-Kates has called "a traumatic period in the composer's life" resulting in "artistic paralysis," this paper uses correspondence and interviews with Ginastera's family and students to add to our understanding of his life during this decade, which resulted in his permanent move to Europe in In broader terms, this paper emphasizes looking at composition both as labor, and as part of everyday life, directly affecting compositional output and representations of musical and political selves.


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  • In , Guido and Torcuato S. Di Tella—both under 30 years old and sole heirs of the largest industrial emporium of Argentina— decided to push forward a plan to make Buenos Aires a center for the artistic avant-garde, and used a significant part of their family fortune to create the Torcuato Di Tella Institute. By mixing oral history with ethnographic research, this paper examines the ways in which avant-garde music—and art in general—was relevant to the Di Tella family at a time when they were in the process of reconfiguring their elite identity.

    My investigation shows the complex and often contradictory positions of Guido and Torcuato S. Di Tella as they legitimized their status and made the Di Tella name be associated not just with refrigerators and automobiles, but with the contemporary art world. This work combines ethnomusicological research with theoretical frameworks from elite studies to provide a better understanding of the role of avant-garde art in the consolidation of elite status while still considering them dynamic and heterogeneous.

    By tracing the constitutive actor-networks that led to these grants, my paper seeks to destabilize the concept of philanthropy as a preexisting third force located between the public and private sector Fisher Instead it presents it as an emerging domain, the result of complex entanglements, webs of relations and ideas that are mediated and enacted as the result of human, institutional, technological, discursive, and material actors Latour Book Description Duke University Press.

    Brand New. Seller Inventory Language: English. Brand new Book. A bestseller in Argentina, Avant-Garde, Internationalism, and Politics is an examination of the s as a brief historical moment when artists, institutions, and critics joined to promote an international identity for Argentina's visual arts. The renowned Argentine art historian and critic Andrea Giunta analyzes projects specifically designed to internationalize Argentina's art and avant-garde during the s: the importation of exhibitions of contemporary international art, the sending of Argentine artists abroad to study, the organization of prize competitions involving prestigious international art critics, and the export of exhibitions of Argentine art to Europe and the United States.

    She looks at the conditions that made these projects possible-not least the Alliance for Progress, a U. Giunta's rich narrative illuminates the contentious postwar relationships between art and politics, Latin America and the United States, and local identity and global recognition. Seller Inventory AAJ Book Description Duke Univ. New copy - Usually dispatched within 2 working days. Seller Inventory B Book Description Duke Univ Pr, Condition: Brand New.

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    Andrea Giunta.