Relevant bibliographies by topics / Musiciens argentins

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Musiciens argentins'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "Musiciens argentins"

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Favoretto, Mara. "Musicians in Transit: Argentina and the Globalization of Popular Music." Journal of Iberian and Latin American Research 24, no. 1 (January 2, 2018): 92–102. http://dx.doi.org/10.1080/13260219.2018.1496956.

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Jakubs, Deborah. "Musicians in Transit: Argentina and the Globalization of Popular Music." Hispanic American Historical Review 98, no. 1 (February 1, 2018): 167–68. http://dx.doi.org/10.1215/00182168-4294852.

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Skura, Susana, and Lucas Fiszman. "From shiln to shpiln in Max Perlman’s Songs: Linguistic and Socio-cultural Change among Ashkenazi Jews in Argentina." Journal of Jewish Languages 4, no. 2 (August 16, 2016): 231–51. http://dx.doi.org/10.1163/22134638-12340072.

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This article analyzes the stylistic and linguistic resources used in three songs of musician Max Perlman, written in Argentina in the 20th century. The main focus is code mixing: Yiddish, Castidish, Spanish, and Argentine slang. A close examination of these pieces led to several findings: the use of linguistic and discursive elements like rhyme, mixing language, Jewish traditional names, and references to Jewish life in the local milieu, are facts that can be understood as a continuity of a tradition of artistic production influenced by Yiddish’s contact with other contextual languages. Perlman’s language shift and references to cultural activities emphasize moral criticism about aspects of the daily life of middle and lower class Jews in Buenos Aires in that moment of transition. The incorporation of Spanish into an immigrant’s Yiddish repertoire demonstrates multilingual language competences that were an important resource for his audience’s empowerment within and outside Yiddish theater.
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McManus, Emily J. "The Tango in Translation: Intertextuality, Filmic Representation, and Performing Argentine Tango in the United States." TranscUlturAl: A Journal of Translation and Cultural Studies 5, no. 1-2 (March 25, 2014): 194. http://dx.doi.org/10.21992/t9w34w.

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This article analyzes representations of the Argentine tango by the U.S. media utilizing Farzaneh Farahzad’s theory of “translation as intertextual practice” and Lawrence Venuti’s theory of translated “adaptations.” I argue that the juxtaposition of Latin American and European cultural stereotypes within filmic representations of the tango has created and reinforced a highly racialized master discourse (Said Faiq) that continues to influence how the Argentine tango is perceived in the United States today. Because cultural translation occurs between a hegemonic culture and a marginalized culture, representations of the tango in the United States both create and reinforce a master discourse that inextricably ties the tango to an exoticized and eroticized Latin “Other.” I conclude by discuss how the racialized and sexualized narratives discussed throughout this paper are integrated into contemporary performance of the tango. I draw on ethnographic research with tango communities throughout the United States to illustrate how 20th century filmic representations of the tango continue to motivate, influence, and inform how, when, and why the Argentine tango is performed by U.S. dancers and musicians. Films analyzed include Four Horsemen of the Apocalypse, Some Like it Hot, Last Tango in Paris, and The Scent of a Woman, as well as a variety of lesser-known films and television advertisements. Although a large variety of 20th century films feature the tango, the films discussed in this paper were selected for analysis due to the frequency with which they are referenced by tango aficionados and contemporary tango dancers, musicians, and deejays performing throughout the United States today.
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Milanesio, Natalia. "Matthew B. Karush. Musicians in Transit: Argentina and the Globalization of Popular Music." American Historical Review 122, no. 4 (October 1, 2017): 1285–86. http://dx.doi.org/10.1093/ahr/122.4.1285.

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Wolkowicz, Vera. "Musicians in Transit: Argentina and the Globalization of Popular Music. By Matthew B. Karush." Music and Letters 98, no. 3 (August 1, 2017): 505–7. http://dx.doi.org/10.1093/ml/gcx079.

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Gough, Daniel. "Musicians in Transit: Argentina and the Globalization of Popular Music by Matthew B. Karush." Notes 75, no. 2 (2018): 282–84. http://dx.doi.org/10.1353/not.2018.0103.

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Bellaviti, Sean. "Musicians in Transit: Argentina and the Globalization of Popular Music - by Karush, Matthew B." Bulletin of Latin American Research 37, no. 5 (November 2018): 651–53. http://dx.doi.org/10.1111/blar.12908.

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Lahasky, Sarah. "Municipal Sponsorship and Musical Work in Argentina: Ensemble Institutionalization in a Neoliberal Economy." SOCIOLOGIA DEL LAVORO, no. 157 (August 2020): 108–24. http://dx.doi.org/10.3280/sl2020-157006.

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The institutionalization of musical groups through local, decentralized govern-ments may provide artists an alternative to the precarious working conditions as characterized by the gig economy. The article uses the Tito Francia Guitar Or-chestra as a case study and suggests that artists living in areas with autonomous local governments may be able to frame their work as a social, political, or eco-nomic benefit to the city. The article contains three sections: the first one explains Argentina's current economic situation and its effects on musical work in the country; the second one introduces the guitar orchestra and their relationship with the Municipality of Guaymallén; the last section considers the benefits and risks of institutionalizing an ensemble, and how musicians' work may change as a result.
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Vila, Pablo. "Review of Musicians in Transit: Argentina and the Globalization of Popular Music, by Matthew B. Karush." ERLACS, no. 105 (March 7, 2018): 2. http://dx.doi.org/10.18352/erlacs.10334.

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Dissertations / Theses on the topic "Musiciens argentins"

1

Liut, Martin. "Cosmopolitas, nómades, músicos de la distancia : compositores de origen argentino en la París del Siglo XXI." Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0115.

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Cette thèse étudie la vie professionnelle et la production artistique d'un groupe de compositeurs d'origine argentine basés à Paris. C'est la ville avec la plupart d'entre eux à l'étranger. En outre, ils sont la première minorité de compositeurs étrangers vivant dans la capitale française.Ces compositeurs ont produit un corpus musical important, que nous estimons dans environ 1200 œuvres des genres les plus divers qui intègrent le domaine de la musique contemporaine. Depuis le XXIe siècle, une partie pertinente de ce corpus avait une circulation en Argentine et a promu un débat sur la délimitation du domaine de la musique locale contemporaine.Notre thèse visait à étudier les motivations qui ont amené 23 compositeurs à émigrer à Paris, les conditions d'insertion dans ce domaine et les tensions identitaires qui ont généré ce transit. Ensuite, nous analysons la production musicale la plus récente et la plus importante, ses conditions de réalisation et d'accueil en France et en Argentine
The present thesis studies the professional life and the artistic production of a group of composers of Argentine origin, who are located in Paris, the city with the greatest number of them abroad. In addition, they are the first minority of foreign composers living in the French capital.These composers have produced an important musical work, which we estimate in about 1200 pieces of the most diverse genres that integrate the field of contemporary music. A relevant part of this corpus has been part regular concerts in Argentina, thus it promoted a debate on the delimitation of the field of contemporary local music.Our thesis aimed to study the motivations that led to 23 composers to emigrate to Paris, the conditions of insertion in that field and the identity tensions that generated this transit. Then we analyze the most recent and most significant musical production of them, its conditions of realization and reception in both France and Argentina
La presente tesis estudia la vida profesional y la producción artística de un grupo de compositores de origen argentino que se encuentran radicados en París, la ciudad con mayor cantidad de ellos en el exterior. Además, son la primera minoría de compositores extranjeros viviendo en la capital de Francia. Estos compositores han producido una importante obra musical, que estimamos en alrededor de 1200 obras, de los géneros más diversos que integran el campo de la música contemporánea. En lo que va del presente siglo XXI una parte relevante de este corpus tuvo circulación en la Argentina y promovió un debate sobre la delimitación del campo de la música contemporánea local.Nuestra tesis se propuso estudiar las motivaciones que llevaron a 23 compositores a emigrar a París, las condiciones de inserción en dicho campo y las tensiones identitarias que generó este transitar. Luego analizamos la producción musical más reciente y la más significativa, sus condiciones de realización y recepción tanto en Francia como en la Argentina
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Books on the topic "Musiciens argentins"

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Risetti, Ricardo. Memorias del jazz argentino: Décadas del '40 y del '50 : músicos y orquestas argentinas de jazz. B[ueno]s A[ire]s: Corregidor, 1994.

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Confesionario: Historia de mi vida privada. Buenos Aires: Libros del Rojas, 2006.

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Moyano, Daniel. Dondé estás con tus ojos celestes. Buenos Aires: Gárgola, 2005.

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Cortazar, Julio. Las armas secretas. México, D.F: Alfaguara, 2014.

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Donozo, Leandro. Diccionario bibliográfico de la música argentina: (y de la música en la Argentina). Buenos Aires: Gourmet Musical Ediciones, 2006.

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Roldán, Waldemar Axel. Música colonial en la Argentina: La enseñanza musical. Buenos Aires: El Ateneo, 1988.

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Risetti, Ricardo. De corazón a corazón: Memorias del bolero en la Argentina. B[ueno]s A[ire]s: Corregidor, 1996.

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Cómo vino la mano: Orígenes del rock argentino. 4th ed. Buenos Aires, Argentina: Gourmet Musical Ediciones, 2008.

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Fraga, Rosendo. Argentina en las urnas: 1931-1991. Buenos Aires: Editorial Centro de Estudios Unión para la Nueva Mayoría, 1992.

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Fraga, Rosendo. Argentina en las urnas: 1916-1989. Buenos Aires: Editorial Centro de Estudios Unión para la Nueva Mayoría, 1989.

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Book chapters on the topic "Musiciens argentins"

1

Cannova, María Paula. "The Twentieth Century in the Training of Professional Musicians in Argentina." In ANKLAENGE 2018, 103–10. Hollitzer Verlag, 2020. http://dx.doi.org/10.2307/j.ctvwh8cps.7.

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Palomino, Pablo. "The Transnational Formation of Latin American Musicology." In The Invention of Latin American Music, 139–71. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190687403.003.0005.

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This chapter tells the history of the German-born Uruguayan musicologist Francisco Curt Lange and the Latin-American Music Bulletin he created, a musicological project intended as a forum for musicians and music-related figures from all over Latin America, and the United States, interested in creating a regional field of musicological studies and musical promotion. It examines policies about disc collection, score printing and distribution, musical ethnographies, folklore, musical analysis, conferences, concerts, and regional institutions promoted by the Bulletin, and traces relevant aspects of Lange’s professional journey between Germany, Uruguay, Argentina, Brazil, and the United States, among other places. The chapter also highlights the changing place of the United States, both as a subject of musicological study and as a site of music-related hemispheric initiatives, in the history of this Latin Americanist project.
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Phillips, Damon J. "The Puzzle of Geographical Disconnectedness." In Shaping Jazz. Princeton University Press, 2013. http://dx.doi.org/10.23943/princeton/9780691150888.003.0002.

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This chapter explains why it matters that jazz was produced in sixty-seven cities worldwide. That is, jazz up to 1933 was primarily recorded in a small set of cities, including Chicago, London, and New York. Focusing on the mobility networks of musicians across these cities, the chapter examines how disconnectedness can have a unique role in social systems, particularly in innovation-based social systems familiar to scholars of organizations and markets (e.g., cultural markets, technological systems). Using an empirical approach to the rise of jazz during the period 1897–1933, it explores the impact of structurally disconnected cities and the emergence of jazz standards through the discographical canon. The chapter argues that it is important to pay attention to jazz recordings from more disconnected cities such as Minneapolis (Minnesota), Hilversum (Holland), Sydney (Australia), Buenos Aires (Argentina), and Calcutta (India).
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