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Relevant bibliographies by topics / Alberto Ginastera

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Academic literature on the topic 'Alberto Ginastera'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 April 2022

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Journal articles on the topic "Alberto Ginastera"

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Sottile, Antonieta. "La práctica de la cita en Alberto Ginastera." Revista del ISM, no. 16 (October 1, 2016): 131–56. http://dx.doi.org/10.14409/ism.v0i16.6087.

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La cita de materiales del folklore constituye una característica principal del nacionalismo musi- cal en general y de la obra nacionalista de Gi- nastera en particular. Sin embargo, la práctica de la cita musical en Ginastera no se limita al folklore sino que se extiende a otras dos fuen- tes: a la música de la tradición culta europea y a la propia obra anterior de Ginastera. En este artículo nos proponemos examinar el uso rele- vante que Ginastera hace de estos tres tipos de cita, la folklórica, la «erudita» y la autocita a lo largo de toda su producción, atravesando sus diferentes períodos.

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Buch, Esteban. "L’avant-garde musicale à Buenos Aires : Paz contra Ginastera." Circuit 17, no. 2 (2007): 11–33. http://dx.doi.org/10.7202/016836ar.

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Le Centro Latinoamericano de Altos Estudios Musicales (claem), fondé en 1962 à Buenos Aires par Alberto Ginastera et financé par la Fondation Rockefeller, fut pendant les années 1960 le principal centre de musique contemporaine d’Amérique latine. Pourtant, le pionnier du dodécaphonisme en Argentine, Juan Carlos Paz, l’appelait volontiers l’« Academia Pitman de la composition musicale ». Ce mépris résultait d’une rivalité qui aura structuré le milieu local de la musique contemporaine pendant trente ans, et qui correspondait à deux visions concurrentes de l’histoire de la musique, entre l’avant-

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Schwartz-Kates, D. "Alberto Ginastera, Argentine Cultural Construction, and the Gauchesco Tradition." Musical Quarterly 86, no. 2 (2002): 248–81. http://dx.doi.org/10.1093/musqtl/gdg009.

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Schwartz-Kates, Deborah. "The Correspondence of Alberto Ginastera at the Library of Congress." Notes 68, no. 2 (2011): 284–312. http://dx.doi.org/10.1353/not.2011.0152.

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Carballo, Erick. "Alberto Ginastera: Le(s) style(s) d'un compositeur argentin (review)." Latin American Music Review 32, no. 1 (2011): 151–55. http://dx.doi.org/10.1353/lat.2011.0000.

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Plesch, Melanie. "Resisting the Malambo: On the Musical Topic in the Works of Alberto Ginastera." Musical Quarterly 101, no. 2-3 (2018): 157–215. http://dx.doi.org/10.1093/musqtl/gdy014.

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Novoa, Laura. "Document. Alberto Ginastera au Centro Latinoamericano de Altos Estudios Musicales (CLAEM). Correspondance 1961-1970." Circuit: Musiques contemporaines 17, no. 2 (2007): 35. http://dx.doi.org/10.7202/016837ar.

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Schwartz-Kates, Deborah. "The Film Music of Alberto Ginastera: An Introduction to the Sources and Their Significance." Latin American Music Review 27, no. 2 (2006): 171–95. http://dx.doi.org/10.1353/lat.2007.0008.

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Grela, Dante. "Identidad cultural y creación musical en Latinoamérica: La Cantata para América Mágica, de Alberto Ginastera." Revista del ISM, no. 9 (December 2, 2005): 85–98. http://dx.doi.org/10.14409/ism.v1i9.546.

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10

Rodríguez Vargas, Carlos. "Análisis ejecutivo-interpretativo de la sonata para plano no. 1, op. 22, de alberto ginastera." Ricercare 2017, no. 7 (2017): 06–32. http://dx.doi.org/10.17230/ricercare.2017.7.1.

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Este artículo pretende ofrecer herramientas analíticas acerca de diversos aspectos que sean de utilidad a los pianistas profesionales o en formación, para el estudio y la ejecución de la sonata para piano Nº 1, op.22, del compositor argentino Alberto Ginastera. Se incluye un corto contexto histórico de la obra, con especial enfoque en el período creativo del que hace parte la misma, con el fin de familiarizar al pianista con la producción del compositor. Cuenta el artículo, además, con un análisis de la estructura de la obra y de cada uno de sus movimientos y con consejos prácticos enfocados h

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Dissertations / Theses on the topic "Alberto Ginastera"

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Sommerville, David L. "Consistency, context and symmetry in Alberto Ginastera's String quartets nos. 1 (1948) and 2 (1958, first version) /." Digitized version, 2009. http://hdl.handle.net/1802/11067.

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Thesis (Ph. D)--University of Rochester, 2009.<br>Includes abstract and vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/11067

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Payne, Alyson. "Creating music of the Americas in the Cold War Alberto Ginastera and the Inter-American Music Festivals /." Connect to this title online, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1165436117.

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Fobes, Christopher Anderson. "A theoretical investigation of twelve-tone rows, harmonic aggregates, and non-twelve-tone materials in the late music of Alberto Ginastera." Electronic version, 2006. http://proquest.umi.com/pqdweb?did=1192183771&sid=22&Fmt=2&clientId=39334&RQT=309&VName=PQD.

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Thesis--State University of New York at Buffalo, 2006.<br>Computer printout. List of Ginastera's numbered compositions: leaves 135-136. Includes bibliographical references (leaves 146-150), and examples (leaves 151-256).

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Gaviria, Carlos A. "Alberto Ginastera and the Guitar Chord: An Analytical Study." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33152/.

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The guitar chord (a sonority based on the open strings of the guitar) is one of Alberto Ginastera's compositional trademarks. The use of the guitar chord expands throughout forty years, creating a common link between different compositional stages and techniques. Chapters I and II provide the historical and technical background on Ginastera's life, oeuvre and scholar research. Chapter IV explores the origins of the guitar chord and compares it to similar specific sonorities used by different composers to express extra-musical ideas. Chapter V discusses Ginastera's initial uses and modification

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Campbell, Grace M. "Evolution, Symmetrization, and Synthesis : The Piano Sonatas of Alberto Ginastera." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc279098/.

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When Alberto Ginastera's oeuvre is viewed as a whole, an essential continuity between compositional ideas often appears in different works. This is especially apparent in the three piano sonatas, where each sonata represents an evolution and a condensation of ideas occurring in the previous one. The evolution of ideas throughout the three sonatas takes place through two primary processes. The first is a shift in cultural focus from reliance on Ibero-American material in the first sonata (1952) to Amerindian in the second (1981), to a synthesis of the two cultural elements in the third (1982).

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Carballo, Erick. "De la pampa al cielo : the development of tonality in the compositional language of Alberto Ginastera /." Link to electronic version Proquest document ID: 1288649231 Publication number: AAT 3254318 Electronic version, 2006. http://proquest.umi.com/pqdlink?did=1288649231&sid=1&Fmt=2&clientId=12010&RQT=309&VName=PQD.

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Thesis--Indiana University, 2006.<br>Computer printout. "While the present study will focus specifically on the evolution of tonality in Ginastera's compositional style, I begin by surveying the small body of general scholarship pertinent to Ginastera, starting with his own published comments. This critical survey serves two purposes: it provides a general overview of the scholarship to date regarding Ginastera; and it demonstrates the shortcomings of that scholarship in relation to the study of tonality's evolution in Ginastera's music--hence the rationale for the present study."--Leaves 1-2.

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King, Charles 1956. "Alberto Ginastera's Sonata for Guitar Op. 47: an analysis." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/565537.

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Hammond, Rachel. "Rhythmic and metric structure in Alberto Ginastera's piano sonatas." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4912.

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Alberto Ginastera (1916-1983) was one of the leading South American composers of the twentieth century. Born in Argentina at a time when his country was striving to achieve a national identity and culture, Ginastera was recognized for combining the techniques of Western European art music with elements of Argentine folk music. His piano sonatas, composed during both his early and late periods, serve as excellent examples of this cultural synthesis throughout the course of his career. The Sonata No. 1 for Piano Op. 22 (1954), Sonata No. 2 for Piano Op. 53 (1981), and Sonata No. 3 for Piano Op.

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BARNETT, JESSICA R. "ALBERTO GINASTERA'S STRING QUARTETS NOS. 1 AND 2: CONSISTENCIES IN STRUCTURE AND PROCESS." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179372958.

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George, Matthew. "An examination of performance aspects of two major works for percussion ensemble: Toccata by Carlos Chávez and Cantata para América mágica by Alberto Ginastera, a lecture recital, together with four recitals of selected works of I. Stravinsky, R. Vaughan Williams, W.A. Mozart, V. Persichetti, and P. Hindemith." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332759/.

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This study addresses the ways and means a conductor may approach two major twentieth century works written specifically for percussion ensemble. Performance techniques and decisions on aesthetics made by the conductor in dealing with such items as timbre, balance, pitch levels, and pitch relationships are also considered.

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Books on the topic "Alberto Ginastera"

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Alberto Ginastera: A research and information guide. Routledge, 2010.

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Scarabino, Guillermo. Alberto Ginastera: Técnicas y estilo (1935-1950). Facultad de Artes y Ciencias Musicales, Instituto de Investigación Musicológica "Carlos Vega,", 1996.

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Schwartz-Kates, Deborah. Alberto Ginastera: A research and information guide. Routledge, 2010.

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Alberto Ginastera: Le(s) style(s) d'un compositeur argentin. L'Harmattan, 2007.

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Schwartz-Kates, Deborah. Alberto Ginastera. Routledge, 2011. http://dx.doi.org/10.4324/9780203853085.

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Malena, Kuss, Handschin Lukas, and Paul Sacher Stiftung (Basel, Switzerland), eds. Alberto Ginastera: Musikmanuskripte. Amadeus, 1990.

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7

Alberto Ginastera: A complete catalogue. Boosey & Hawkes, 1986.

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8

Schwartx-Kates. Alberto Ginastera A Guide to Research. Routledge, 2007.

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9

Schwartz-Kates, Deborah. Alberto Ginastera: A Research and Information Guide. Taylor & Francis Group, 2015.

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Herrera, Eduardo. Elite Art Worlds. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190877538.001.0001.

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Between 1962 and 1971, the Centro Latinoamericano de Altos Estudios Musicales (CLAEM) of the Di Tella Institute in Buenos Aires became the central hub of Latin American avant-garde music. With the support of the Rockefeller Foundation and the wealthy Di Tella family, CLAEM offered two-year fellowships to some of the most recognized young composers of the region to undertake graduate studies in a unique privileged setting under the direction of Alberto Ginastera and with permanent and visiting faculty that included Gerardo Gandini, Francisco Kröpfl, Mario Davidovsky, Iannis Xenakis, Luigi Nono,

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Book chapters on the topic "Alberto Ginastera"

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Fürst-Heidtmann, Monika. "Ginastera, Alberto." In Komponisten Lexikon. J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_112.

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Fürst-Heidtmann, Monika. "Ginastera, Alberto." In Metzler Komponisten Lexikon. J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_113.

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Holm-Hudson, Kevin. "Emerson, Lake and Palmer’s ‘Toccata’ and the Cyborg Essence of Alberto Ginastera." In The Routledge Companion to Popular Music Analysis. Routledge, 2018. http://dx.doi.org/10.4324/9781315544700-18.

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"Alberto Ginastera." In Masterworks of 20th-Century Music. Routledge, 2013. http://dx.doi.org/10.4324/9780203616949-13.

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Herrera, Eduardo. "John Harrison, Alberto Ginastera, and the Creation of CLAEM." In Elite Art Worlds. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190877538.003.0003.

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This chapter explores the creation of CLAEM through a series of vignettes that use the interactions between Rockefeller Foundation officer John P. Harrison and the famous composer Alberto Ginastera to show how institutional forces, usually imagined on a seemingly abstract level, actually come into play on the ground through the exchanges of specific people. The chapter demonstrates how Harrison played a fundamental role in the creation of CLAEM and heading several inroads of the Rockefeller Foundation into Latin American art music during the early 1960s. The narrative constructed in this chapter around the creation of CLAEM sets up several issues that will be further explored in the rest of the book in relation to the Rockefeller Foundation, the Di Tella Family, and the mission and vision of CLAEM.

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"Alberto Ginastera (1916-1983). Una contribución a la música culta argentina." In Culturas del Río de la Plata (1973-1995). Vervuert Verlagsgesellschaft, 1995. http://dx.doi.org/10.31819/9783964562524-026.

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"Conquistadores, Indians and Argentine Generals: Iubilum op. 51, a Commission to Alberto Ginastera (1980)." In Composing for the State. Routledge, 2016. http://dx.doi.org/10.4324/9781315573236-21.

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Herrera, Eduardo. "The Di Tella Family, Art Philanthropy, and the Legitimation of Elite Status." In Elite Art Worlds. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190877538.003.0005.

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The Di Tella family owned one of the largest industrial emporiums of Argentina and in 1958 decided to use part of their fortune to create the Torcuato Di Tella Institute. In 1962, the Institute collaborated with the Rockefeller Foundation to create a music center, CLAEM, under the direction of Alberto Ginastera. This chapter 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. It shows the complex and often contradictory positions of Guido and Torcuato S. Di Tella as they legitimized their status and associated the Di Tella name not just with refrigerators and automobiles, but also with contemporary arts. Built upon oral histories, this chapter explores the social meaning and value of philanthropic practices for the Di Tella brothers. The complex picture painted by this story underlines the need to understand elites as dynamic and not as static or homogeneous social groups.

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Siwe, Thomas. "Serialism." In Artful Noise. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043130.003.0006.

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In the 1950s and 1960s, many composers, influenced by Arnold Schoenberg and Anton Webern, embraced serial compositional techniques. Tonal music became atonal and composers, such as Pierre Boulez from France and the German composer, Karlheinz Stockhausen, championed this new compositional approach. This chapter defines serialism and how composers applied it to works for percussion instruments. Music examples include Stockhausen’s solo work, Zyklus, with its totally original notational system, and a setting of an E. E. Cummings poem, Circles, by the Italian composer Luciano Berio. American composer Charles Wuorinen’s use of Milton Babbitt’s “time point” system in both his solo work Janissary Music and his forty-five-minute Percussion Symphony is presented, as is the work of Argentine composer Alberto Ginastera, who contributed to the literature one of the twentieth century’s largest percussion works, Cantata para América Mágica, for dramatic soprano and fifty-three percussion instruments. A discussion of percussion solo and ensemble works by the Greek composer, architect, and mathematician Iannis Xenakis completes the chapter.

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Hess, Carol A. "Alberto Ginastera’s Bomarzo in the United States." In Representing the Good Neighbor. Oxford University Press, 2013. http://dx.doi.org/10.1093/acprof:oso/9780199919994.003.0006.

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