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Latin American Music Center
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Recent Submissions
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(Latin American Music Center, 2014-03-13)Variation processes and variation techniques found in single and/or collected works designated as Dances, Etudes and Toccatas as well as works titled as Theme and Variations proper are presented in order to illustrate ...
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(Latin American Music Center, 2014-02-18)The “Piano Sonata” lecture demonstrates and discusses both the persistence of neoclassical formal paradigms as well as the diversity of compositional and instrumental approaches utilized in Latin American Piano Sonatas ...
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(Latin American Music Center, 2014-01-21)The “Piano Sonatinas” lecture demonstrates and discusses concepts related to the various aspects of Latin American musical production for the piano such as the experimental, the intimate, the domestic, the miniaturized, ...
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(Latin American Music Center, 2011-10)This paper discusses Gerard Béhague’s scholarly work in the light of the changing ideological and political context, concerning (ethno)musicology’s agenda vis a vis U.S. international relations. Panamericanism was crucial ...
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(Latin American Music Center, 2011-10)The city of Washington held a special place in the creative life of Alberto Ginastera (1916-1983). It was there that the Argentine composer achieved some of his distinguished successes, beginning with the premiere of his ...
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(Latin American Music Center, 2011-10)Aaron Copland’s love for Mexico, epitomized by his orchestral piece Salon Mexico, is well known. Salon Mexico bears the name of a dancing club that Copland visited and in which he was able to grasp a moment in the life of ...
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(Latin American Music Center, 2011-10)The wellspring of U.S. Pan-American sentiment toward Cuba dried up quickly after the 1959 Revolution. Prior to the Revolution exchanges between Cuban and U.S. composers was vigorous, however, the events following the ...
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(Latin American Music Center, 2011-10)Through occupation and trade during the last ten years, the United States and Cuba have absorbed facets of each other’s cultural profile. Two products of recent exchange in Cuba as a result of its relationship with the ...
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(Latin American Music Center, 2011-10)El Sistema defines itself as a “Venezuelan government social institution for the systematization of instruction and collective practice of orchestral and choral music as instruments of social organization and community ...
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(Latin American Music Center, 2011-10)The renewal of the Pact of Madrid in 1963 brought the United States and Spain into a closer rapport as well as strengthened Spain’s connection to the Organization of American States (OAS). No longer politically isolated, ...
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(Latin American Music Center, 2011-10)In a diplomatic attempt to create cultural exchange between Latin American countries and the United States, Disney Pictures created the film Saludos Amigos in 1942. The film Saludos Amigos was a combination of four ...
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(Latin American Music Center, 2011-10)Analytical study about Segura ele! (Hold him!) and Um a zero (One by Zero), two choros by Brazilian composer and performer Alfredo da Rocha Vianna, known as Pixinguinha (1897-1973), the leading figure of the genre in the ...
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(Latin American Music Center, 2011-10)This work presents a musical analysis of structural and pertaining to surface aspects in the 16 Poesilúdios for piano, by the Brazilian composer Almeida Prado (1943-2010). It focuses on aspects of study, analysis and promote ...
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(Latin American Music Center, 2011-10)Music scholars have long lamented the lack of historical data describing the emergence of early jazz repertoire in New Orleans. Not only do no recordings of the music exist prior to 1917, but few written sources from the ...
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(Latin American Music Center, 2011-10)The California-based Mexican-American “activist” metal band Brujeria, uses a powerful, yet conflicting, blend of nihilism, anarchism, and racism with a dose of hyper-patriotism in its attempt to convey the voice of oppressed ...
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(Latin American Music Center, 2011-10)This paper examines the impact of a unique community engagement program called ¡Cantaré!, which places Mexican composers in Minnesota classrooms to serve as composers-in-residence. Since 2008, the Minnesota-based chorus ...
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(Latin American Music Center, 2011-10)Astor Piazzolla, whose music came to define the modern metropolis of Buenos Aires, spent most of his childhood on the lower east side of Manhattan. Growing up in New York in the 1920s and 30s, Piazzolla was exposed to a ...
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(Latin American Music Center, 2011-10)U.S. accounts of post-revolutionary Cuban music history tend to focus on the island’s isolation, constructing a narrative that explains more about our own isolation from Cuba than Cuba’s isolation from the rest of the ...
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(Latin American Music Center, 2011-10)This paper presents a results overview of the musical relationship between Bolivia and United States in the few last years. In this context, composers like José Velasco Maidana (c. 1899-1989) and Jaime Mendoza Nava (1925-2005) ...
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(Latin American Music Center, 2011-10)Since his inauguration, President Obama has relaxed the musical embargo of Cuba following a long period when musical exchanges between the U.S. and Cuba were few and far between. This has made high-profile Cuban performances ...