Morgan Zaccardo
Homework #3
The Rioplatense Tango
The history and development of tango can be divided into three stages, the first stage being La Guardia vieja, or Old Guard, which lasted until 1920. During this time, tango had emerged as a genre of instrumental music. The form during this time consisted of three parts, with different sections (ABC). This form usually uses four instruments: flute, violin, guitar and bandoneon. The most famous tango ever written is from this time period, Gerardo Matos Rodrigez’s “La cumparsita.” This early tango used rhythms related to habanera and milonga in duple meter and began to slow the tempo down during the 1910s. During this time, a quadruple meter with sharp accents was also adopted. Marcato and sincopa, two new patterns, established the harmonic and rhythmic foundations of more recent tangos.
During the second phase, La Guardia nueva, or New Guard, tango became common popular in all social classes. Tango began to gain prestige and was present on the radio, in movies, nightclubs and cafes. This period lasted from 1920-1955. According to the text, tango underwent a “rags to riches” transformation, where it moved to upscale social scenes. A new style, tango cancion, evolved from this tango. Tango cancion emphasized the voice to highlight the expressive accents of the text and used a flexible sense of rhythmic ebb and flow (rubato) to do so. The instrumental accompaniment then became smoother and more polished because piano and strings enhanced the ensemble. The bandoneon, which once dominated the ensemble, now blended effortlessly with the other instruments. No single instrument stood out. The tango cancion used a standardized form with two equal and balanced sections. This highlighted th...
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...ions in Buenos Aires are tango performances that combine elements of Broadway musicals and Argentine folk genres. This industry has created several jobs for tango performers in the region.
Young, innovative musicians have attempted renewed classic tango styles, repertoires and practices by creating innovative projects. This refurbishment of tango has allowed local identities to be celebrated. Ensembles like 34 Punaladas has renewed the image of Gardelian tango, including old and new lunfardo lyrics and including elements of poverty, bitterness and injustice. Other artists create a spin on original compositions such as Daniel Melingo who includes electronic instruments, sampling techniques, rock styles, and Latin American idioms.
Today international audiences experience the tango in different ways and the possibilities are endless for tango innovation and growth.
This concert is held by the Stony Brook University music department and is to perform seven pieces of music written by seven student composers. The concert is performed in Recital Hall of Staller Center in Stony Brook University. Since it is a small hall, audiences are very close to the performers. In fact, it is the first time I am this close to the performers and the sound for me is so clear and powerful that seems like floating in front of my eyes. Among the seven pieces, “Ephemeral Reveries” and “Gekko no mori” are piano solo, “Two Songs for Joey” is in piano and marimba, “Suite” and “Fold Duet No. 1” are in woodwinds, “Elsewhere” is played by string groups, and “e, ee, ree, and I was free” is in vocal. Personally, I like the sound of piano and guitar the best. Therefore, in the latter part I will analysis two pieces in piano, “Gekko no mori” and “Two Songs for Joey”.
Each movement of the work corresponds accordingly to a different country in Europe at the time known for a particular style of dance. The Intrada would be the opening of the program, followed by the French Basse Dance, the English Pavane, the Italian Saltarello, the Spanish Sarabande, and finally concluding with the German Allemande. Even though the work was performed by a modern ensemble, where many instruments had not even been invented when music of this type was originally composed, the instrumentation of the brass section versus the woodwind section and the artistry of the musicians performing are able to recreate a much older style. Overall, the piece Courtly Airs and Dances, is an emulation of a style dating back to the Renaissance period of music, with each movement reflecting a particular style of dance characteristic to the culture of individual European
The Tango Blast is a clique that started forming sometime within the 1970s-1980s as a result of incarcerated Hispanic males banding together to protect themselves from previously established prison gangs, such as the Texas Mexican Mafia; the phrase “tango” is actually an acronym for “Together Against Negative Gang Organizations”. Members like to represent themselves with things associated to the cultures of the cities
Every dance that is created by a choreographer has a meaning and or purpose behind it. The dance choreographed could be used to send a political, emotional, or a social message. Regardless of the message being sent, each dance created possesses a unique cultural and human significance. This essay will examine and analyze two dance works from history and give an insight into what each dance work provided to the society of its time.
Wisner, Heather. “With a Hop, A Kick, And A Turn, Cumbia Enters the Global Stage.” Dance Magazine 80.9 (2006): 64-68. Humanities Abstracts (H.W. Wilson). Web. 7 Dec. 2011
"TALESOFGRAZ 2006 - Artists." :: TALESOFGRAZ 2006 - Artists ::. N.p., n.d. Web. 7 Mar. 2014. .
The String Quartet in C Minor, Mvmt IV by Ludwig van Beethoven was composed from 1798-1800. It consists of four movements: Allegro ma non tanto – fast lively tempo, Andante scherzoso quasi allegretto - moderately slow tempo (e.g. walking). Faster than adagio but slower than allegretto, Menuetto - A graceful, courtly French dance of the Baroque and Classical period with a triple meter and a moderate tempo. It was introduced at the court of Louis XIV. In classical forms such as the symphony or chamber music, the minuet evolved into the more vigorous scherzo. : Allegretto - moderately quick tempo, and slower than allegro but faster than andante (Christiansen, 2005). The instruments that Beethoven uses in the song is two violins: 1st violin and 2d violin, a viola, and a cello (typical string quartet). He also uses the rondo form within this song. The rondo form features a tuneful main theme (A) which returns several times with other themes. This form is really easy to remember because this piece is repeated throughout the song, people can usually recognize its return. Also, because of it...
The instruments used for this song is of a standard rock band; lead vocalist, electric guitar, bass guitar and drum kit. The genre for this song is determined by the steady and yet simplistic instruments used in this version. An interesting note is that the chorus is in the genre of rock but the verses combine the genres tango and reggae. This could be because merging these three different styles of music attracted the attention of youth more with rock being rebellious at that time and tango and reggae having a heavy beat for that time period. ...
The instrument we chose to do our project on is a percussion instrument. This percussion instrument is called the guiro. The guiro is used as a counterpoint in folk music. It is less commonly used in salsa bands. The guiro is usually accompanied by dancers. The calabazo, the guayo, the ralladura, and the rascador are all other names that are used to call the guiro. The guiro contains two pieces. The first piece is the main part known as the guiro. The second piece is the scraper. The scraper is also known as the pua.
After Christopher Bruce received a letter from a widow of a Chilean folk singer who had been murdered the very inspirational and symbolic ‘Ghost Dances’ work came about. In 1981 Bruce obtained Rambert’s trust and knowledge that he can create dance movements of a high quality and very symbolic to scenarios. Rambert asked Bruce to compile a work for the Chilean Human Rights Committee; who gave him South American styled music which he immediately adored. The tragic place in South America where dreadful situations affect the poor: father figures being pulled away from their loving families and tortured to death, friends murdered and the children taken away. Knowing of all these horrid acts stirred Bruce to be overwhelmingly sympathetic towards the causes and people who faced these unnecessary killings among their homes and neighborhood. Bruce incorporates many dance techniques and elements to portray and recognize the difference between good and evil, heaven and hell. A major aspect of this work is the characters involved and what they do to rule power and domination.
Music, throughout history, has been the marker of change in each era. Every period of music with its own distinct style and execution showcasing the change in the values of that time. This is the reason you can listen to multiple eras throughout our world’s history and hear a timeline of our pasts. Listening through the Baroque with composers such as Bach and Vivaldi, or the Classical period with proteges like Mozart or Beethoven. However the period this paper discusses is the Romantic era that brought us great composers like Frederick Chopin, yet another child prodigy who helped shape the next period of music and brought us into the modern music we know today. Chopin, a man who lived during a time of Russian revolutions, and the strife and
It is regular to see a vocalist ad libbing décimas as verses of a melody, and couples moving the zapateo, despite the fact that the last have been as of late substituted by the child. This Cuban musical type is additionally surely
The development of the style of music during the renaissance can be traced back to the genres of importance to the music composers of that time. Sacred vocal music in the 15th century had two genres known as the Mass and motet the composers of this time cultivated these genres intensely. The ...
Whether it is the fire dances of the native Hawaiians, or the Tango from Spain, dance is a part of every culture. This event is not an event I would usually attend. I am not into art of any kind except music. At first, there were two reasons I went to this performance.
In El Camino Real unity and variety are exemplified through the use of dynamics, timbre and pitch. Based on a series of Spanish flamenco chord progression, El Camino Real is divided into three sections. The first and last sections are inspired by the Spanish Dance Jota. The first and last sections exhibit very loud dynamics, which is achieved by the different levels of volume one hears from the instruments. The middle section is inspired by the Spanish dance fandango and exhibits very soft dynamics and low pitch. Furthermore, the structure of the music has three sections, section A, the introduction (jota), section B, new melody (fandango), and the return of section A at the end of