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Journal articles on the topic 'Musiciens argentins'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Madsen, Katia. "Effect of aural and visual presentation modes on Argentine and US musicians' evaluations of conducting and choral performance." International Journal of Music Education 27, no. 1 (February 2009): 48–58. http://dx.doi.org/10.1177/0255761408099548.

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12

McGee Deutsch, Sandra. "The New School Lecture “an army of women”: Communist-Linked Solidarity Movements, Maternalism, and Political Consciousness in 1930s and 1940s Argentina." Americas 75, no. 1 (December 13, 2017): 95–125. http://dx.doi.org/10.1017/tam.2017.98.

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“I carried a package for Osvaldo Pugliese,” Teresa de Gílenberg proudly recalled during our interview in 1997. One day in the late 1940s, this Communist militant of Polish origins asked Juan, a vendor in her barrio, if he would contribute potatoes and gather foods from other tradesmen in solidarity with Pugliese, a renowned tango composer, orchestra director, and Communist who was incarcerated in the infamous Villa Devoto jail. Juan brought her a large parcel containing his donations and those offered by his fellow vendors, and she personally handed it to the musician.

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13

Nazarska, Georgeta. "Emigrants, Travelers, and Escapers: the Haidutoff Family between Occident and Orient." Balkanistic Forum 30, no. 2 (June 1, 2021): 166–84. http://dx.doi.org/10.37708/bf.swu.v30i2.10.

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The article examines the migrations of young Bulgarians abroad in the 1920-1930s, caused by the Great Depression and in particular the labor migrations of Bulgarian musicians in Egypt and the Near East and their cultural and social interactions with the Bulgarian diaspora there and with the local population. The focus of the study is the travels of the Haidutoff family – a musical trio that has made a living in Egypt for many years, and in the 1920s-1930s traveled and gave concerts in Argentina, France, Italy, Germany, Belgium, Switzerland, Australia and Java island, then returned to Bulgaria and re-emigrated to Egypt. The text analyzes how their mobility is facilitated by blood-related networks, professional networks and interest networks, how it enables their nationalism to interact with the international environment, and how they perceive the West and the East (Orient) as traveling people through their own cultural stereotypes and social distances. The fate of the violinist Nedyalka Simeonova – the daughter-in-law in the family and a member of the musical trio – is traced in detail.

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14

Cetrangolo, Aníbal Enrique. "Aida Times Two: How Italian Veterans of Two Historic Aida Productions Shaped Argentina’s Music History." Cambridge Opera Journal 28, no. 1 (March 2016): 79–105. http://dx.doi.org/10.1017/s0954586716000045.

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AbstractAida famously inaugurated the Teatro Colón in Buenos Aires in 1908, but the musical history of the city is also linked to two earlier productions of the piece: its debut in Cairo in 1871, and another legendary performance, in Rio de Janeiro in 1886. This article retraces the steps of five Italian musicians who played in the orchestras of the Cairo or Rio productions before moving to Buenos Aires, and thereby formed part of the vast Italian emigration to Argentina in the final decades of the nineteenth century. Once there, Pietro Melani, Tomaso Marenco, Giovanni Grazioso Panizza, Italo Casella and Ferruccio Cattelani radically transformed the concert life of the city through their musical activities, not least through their introduction of a wide range of orchestral and chamber music repertoire. By reconstructing their trajectories, I argue for a stronger focus on international networks in thinking about the history of Italian opera at this time and for a greater attention to the contributions of performers who would later fall into obscurity. In addition, I suggest that the insignificant attention given to such figures even in Argentinean narratives would seem to indicate the persistence of a historiography that plays down the contributions of European immigrants in the musical history of the city and the nation.

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15

Buch, Esteban, and Anaïs Fléchet. "La musique en prison: La campagne pour la libération de Miguel Angel Estrella, 1977-1980." Annales. Histoire, Sciences Sociales 72, no. 3 (September 2017): 775–805. http://dx.doi.org/10.1017/s039526491700124x.

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RésuméEn décembre 1977, le pianiste argentin Miguel Angel Estrella est arrêté à Montevideo dans le cadre de l'opération Cóndor. Accusé d'appartenir à la guérilla péroniste Montoneros, il est torturé et maintenu au secret avant d’être transféré dans la prison de Libertad où sont rassemblés tous les prisonniers politiques de l'Uruguay. Au terme d'une intense campagne de solidarité internationale – lancée par ses amis parisiens et menée par des personnalités du monde de la musique, des diplomates et des militants des droits de l'homme, mais aussi par de nombreux mélomanes anonymes –, il est libéré et expulsé vers la France en février 1980. Fondé sur les archives du comité de soutien d'Estrella, des sources diplomatiques et une série d'entretiens, ainsi que sur les fonds récemment déclassifiés de la justice militaire uruguayenne, cet article décrit les ressorts d'une cause exceptionnelle, éclairant d'un jour nouveau les liens entre musique et diplomatie au temps de la guerre froide. Il interroge aussi l'expérience vécue par le musicien en prison, où la pénible reproduction d’œuvres de Beethoven sur un piano muet fait écho à l'assimilation, dans les médias, de sa figure à un héros beethovénien, sorte de Florestan moderne. Ainsi, l'article se penche sur les liens entre éthique et esthétique, et analyse la façon dont l’émotion s'articule au politique dans les mobilisations internationales.

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16

AGUILÓ, IGNACIO. "Matthew B. Karush, Musicians in Transit: Argentina and the Globalization of Popular Music (Durham, NC, and London: Duke University Press, 2017), pp. x + 268, $24.95, pb." Journal of Latin American Studies 50, no. 3 (August 2018): 775–76. http://dx.doi.org/10.1017/s0022216x18000627.

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17

Guerrero, Juliana. "Musicians in Transit. Argentina and the Globalization of Popular Music. By Matthew B. Karush. Durham, NC and London: Duke University Press, 2017. 268 pp. ISBN 9780822362364." Popular Music 39, no. 1 (February 2020): 161–63. http://dx.doi.org/10.1017/s0261143020000112.

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18

Bockelman, Brian. "Musicians in Transit: Argentina and the Globalization of Popular Music. By Matthew B. Karush . Durham: Duke University Press, 2017. Pp. 280. Illustrations. $89.95 cloth; $24.95 paper." Americas 75, no. 1 (January 2018): 248–49. http://dx.doi.org/10.1017/tam.2017.142.

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19

O’Brien, Michael S. "Musicians in transit: Argentina and the globalization of popular music, by Matthew B. Karush, Durham, NC, Duke University Press, 2017, 280 pp., US$24.95 (paperback), ISBN 978-0-8223-6236-4." Canadian Journal of Latin American and Caribbean Studies / Revue canadienne des études latino-américaines et caraïbes 43, no. 2 (April 12, 2018): 301–3. http://dx.doi.org/10.1080/08263663.2018.1458957.

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20

Cance, Caroline, and Vanesa Garcia. "Nora Sarmoria - Compositrice de l’instant et arrangeuse de talent." Critical Studies in Improvisation / Études critiques en improvisation 10, no. 2 (April 14, 2016). http://dx.doi.org/10.21083/csieci.v10i2.3350.

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Nous proposons pour ce numéro un entretien avec Nora Sarmoria, musicienne argentine qui est née et vit à Buenos Aires, autour de sa pratique et sa conception de l’improvisation. La discussion porte essentiellement sur ce qui constitue une caractéristique et un apport majeur de son travail, à savoir le dialogue qu’elle a initié et propose depuis 25 ans entre différentes traditions musicales : le jazz, l’improvisation et le folklore argentin. Pionnière dans ce mélange riche et créatif, nous retraçons avec elle le parcours personnel qui l’a amenée à développer cette proposition originale ainsi que le contexte artistique, culturel et politique dans lequel cela a émergé. Elle nous parle notamment des liens entre son enfance et adolescence passée sous la dictature militaire et sa manière d’appréhender le folklore, censuré durant toute cette période et qui a connu ensuite une explosion et un renouveau. Est également abordée la question de la transmission, autre aspect fondamental du travail de Nora, qui a participé dès le début des années 90 en Argentine au développement d’écoles de musique populaire et qui a créé en 2007 l’Orquesta de Musica Sudamericana. Enfin on s’interroge avec elle sur la place des femmes dans le milieu de l’improvisation musicale.

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21

Cingolani, Josefina. "Itinerarios Urbanos Rockeros en la Ciudad de La Plata, Buenos Aires, Argentina." ILUMINURAS 21, no. 54 (September 30, 2020). http://dx.doi.org/10.22456/1984-1191.103720.

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Resumen: Este artículo recoge los resultados de una tesis doctoral realizada en el período 2013-2018, en donde se analiza la configuración del circuito de rock de la ciudad de La Plata. Retomando algunos resultados, aquí analizaremos los itinerarios de un conjunto de músicos/as integrantes del circuito, enfocándonos en sus trayectorias, en los trayectos que realizan en el espacio urbano y en las lógicas que organizan sus andares. Sostenemos como hipótesis que son las trayectorias de los actores las que modulan los trayectos que realizan, así como son esos recorridos espaciales los que poseen un carácter performativo sobre sus biografías. La estrategia metodológica será de tipo cualitativa, utilizando diversas herramientas de producción de datos, en donde se destaca la técnica de sombreo (Jirón, 2012). Asimismo, este artículo también brinda una reflexión sobre herramientas metodológicas para estudiar prácticas artísticas en la ciudad y su reciprocidad: el modo en que la ciudad condiciona las prácticas, las formas en que estas prácticas producen ciudad.Palabras Clave: Circuito. Rock. Trayectorias. Itinerarios Urbanos. Sombreo URBAN ROCKER ITINERARIES IN LA PLATA CITY, BUENOS AIRES, ARGENTINA. This article collects the results of a doctoral thesis carried out in the period 2013-2018, where the configuration of the circuit of rock in La Plata city. Returning to some results, here we will analyze the itineraries of a group of musicians who are members of the circuit, focusing on their trajectories, the journeys they make in the urban space and the logics that organize their gait. We hypothesize that it’s the trajectories of the actors that modulate the paths they make, as well as those spatial paths that have a performative character about their biographies. The methodological strategy will be qualitative, using various data production tools, where the shadow (Jirón, 2012) stands out as a technique.Likewise, this article also provides a reflection on methodological tools to study artistic practices in the city and their reciprocity: the way the city conditions practices, the ways in which these practices produce city.Keywords: Circuit. Rock. Trajectories. Urban Itineraries. Shadow

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