Hostname: page-component-5c6d5d7d68-lvtdw Total loading time: 0 Render date: 2024-08-13T03:55:53.895Z Has data issue: false hasContentIssue false
  • English
  • Français

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

Published online by Cambridge University Press:  08 October 2020

OMAR CORRADO
Get access Rights & Permissions [Opens in a new window]

Abstract

Between 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.

Type
Articles
Information
Twentieth-Century Music , Volume 17 , Special Issue 3: Musical Trajectories between Latin America and Europe, 1970–2000 , October 2020 , pp. 329 - 345
Copyright
Copyright © The Author(s), 2020. Published by Cambridge University Press

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Footnotes

I thank Emma Gleeman for her invaluable advice in checking the draft of this article.

References

Aharonián, Coriún. Héctor Tosar. Montevideo: Trilce, 1991.Google Scholar
Andriessen, Louis. Liner notes to Anaïs Nin, De Staat. London Sinfonietta, CD Signum, 237, 2011.Google Scholar
Cáceres, Eduardo. ‘Los Cursos Latinoamericanos de Música Contemporánea. Una alternativa diferente.’ Revista Musical Chilena 172 (1989), 46–84.Google Scholar
Corrado, Omar. ‘Am Rand etablierten Kategorien. Mariano Etkin: Komponieren angesichts der unmöglicher Synthese’. MusikTexte 60 (1995), 12–16.Google Scholar
Corrado, Omar. ‘De Museos, Máquinas y Esperas. La ciudad ausente (1994) de Gerardo Gandini’. Boletin Música. Casa de las Américas 9 (2002), 3–15. www.latinoamerica-musica.net (accessed 10 December 2019).Google Scholar
Corrado, Omar. ‘Graciela Paraskevaídis’, in Komponisten der Gegenwart. Munich: text+kritik, 2006.Google Scholar
Corrado, Omar, ed. Estudios sobre la obra musical de Graciela Paraskevaídis. Buenos Aires: Gourmet Musical Ediciones, 2014.Google Scholar
Corrado, Omar. ‘Mariano Etkin. Retrato del compositor como intelectual’. Lecture at the XIX Jornadas de la Asociación Argentina de Musicología, La Plata, 25 September 2018.Google Scholar
Etkin, Mariano. ‘Los espacios de la música contemporánea en América Latina’. Revista del Instituto Superior de Música. Universidad Nacional del Litoral 1 (1989), 47–58. First published in dérives 47/48 (1985), 65–78. French trans. Javier García Méndez.Google Scholar
Gandini, Gerardo. ‘Están’. Segundas Jornadas de Música del siglo XX. Actas (1984), n.p.Google Scholar
Heister, Hanns-Werner and Mühlschlägel, Ulrike, eds. Sonidos y hombres libres. Música nueva en América Latina en los siglos XX y XXI en honor de Graciela Paraskevaídis y Coriún Aharonián. Madrid and Frankfurt: Iberoamericana/Vervuert, 2014.Google Scholar
Levitz, Tamara. ‘Experimental Music and Revolution: Cuba's Grupo de Experimentación Sonora del ICAIC’, in Tomorrow is the Question: New Directions in Experimental Music Studies, ed. Piekut, Benjamin. Ann Arbor: University of Michigan Press, 2014. 180–210.Google Scholar
Merino, Luis. ‘Los cuartetos de Gustavo Becerra’. Revista Musical Chilena 92 (1965), 44–78.Google Scholar
Mumma, Gordon. ‘Uruguayan Diary. The Cuarto Curso Latinoamericano de Música Contemporánea, Cerro del Toro, Uruguay (January 3–17, 1975)’, in Cybersonic Arts: Adventures in American New Music, ed. Fillion, Michelle and Mumma, Gordon. Urbana: University of Illinois Press, 2015. 207–31.Google Scholar
Mumma, Gordon. Liner notes to Gordon Mumma: Studio Retrospect. CD Lovely Music, LCD 1093, 2000.Google Scholar
Paraskevaídis, Graciela. ‘Eduardo Bértola’. Revista del Instituto Superior de Música. Universidad Nacional del Litoral 8 (2001), 12–59.Google Scholar
Mumma, Gordon. ‘Cursos Latinoamericanos de Música Contemporánea. Una documentación I’. www.latinoamerica-musica.net (accessed 2 January 2020).Google Scholar
Sarusky, Jaime. Grupo de Experimentación Sonora del ICAIC. Mito y realidad. Havana: Letras Cubanas, 2005.Google Scholar
Vega, Carlos. ‘Mesomusic: An Essay on the Music of the Masses’. Ethnomusicology 10/1 (1966), 1–17.CrossRefGoogle Scholar
Zobl, Wilhelm. ‘Realidad compositiva, realidad del componer’. Música. São Paulo 2 (1990), 63.Google Scholar