Raices tangueras de la obra de Astor Piazzolla

2001 ◽  
Vol 22 (2) ◽  
pp. 240-254 ◽  
Author(s):  
Gabriela Maurino
Keyword(s):  
Astor Piazzolla

scholarly journals 'Tango-Études' de Astor Piazzolla (1921 – 1992)

Diacrítica ◽  
2021 ◽  
Vol 35 (2) ◽  
pp. 29-42
Author(s):  
Vítor Hugo Ferreira de Matos ◽  
Domingos Francisco Castro
Keyword(s):  
Astor Piazzolla

Astor Piazzolla deixou-nos uma obra peculiar com um estilo musical que combina os elementos do tango argentino com os da música clássica e do jazz americano que viria a marcar as décadas de 50 a 70 do século XX. Este estudo debruça-se sobre uma coleção de seis estudos escritos originalmente para flauta solo em 1987, designados por Astor Piazzolla Tango-Études. Na passagem do centenário do seu nascimento, assinalam-se os dois concertos que realizou em Portugal, o contexto e o impacto que tiveram na época nas cidades de Lisboa e Porto, onde atuou.

“A Hellish Instrument”

2017 ◽  
Author(s):  
María Susana Azzi
Keyword(s):  
Popular Music ◽  
Golden Age ◽  
Ethical Values ◽  
History Of ◽  
Music Genre ◽  
Astor Piazzolla

Argentina's most popular music genre, the tango, had already enjoyed a long history before the bandoneón became its quintessential instrument. Known as a danceable music genre, tango involves everything from poetry, song, gesture, and narrative to philosophy and ethical values. This chapter traces the history of the instrument and of the dance from their inception through the Golden Age. It concludes with an homage to the internationally acclaimed bandoneonist Astor Piazzolla, who singlehandedly redefined tango in the 1980s. Piazzolla considered the accordion “a strong instrument” because of its noisy sound—it is this “mud quality” that is so characteristic of his tango nuevo (new tango).

scholarly journals Borges y la música

2019 ◽  
Author(s):  
Sandro Benedetto
Keyword(s):  
Astor Piazzolla

La relación de Borges con la música no es uno de los aspectos más conocidos dentro deluniverso borgeano. Este trabajo propone un recorrido por los diversos caminos en los que su obrase vincula con el ámbito musical, ya sea en los textos de milongas, su relación con el tango, la músicaclásica y sus pensamientos.El vínculo que se traza entre literatura y música pone en contacto su obra con importantes compositores e interpretes pertenecientes a diferentes géneros musicales, alcanzando uno de sus puntosculminantes cuando la poesía de Borges se encuentra con la música de Astor Piazzolla.

Ryuji Kunimatsu Guitar Arrangement on the Oblivion by Astor Piazzolla: A Critical Analysis

2022 ◽  
Vol 21 (2) ◽  
pp. 204-220
Author(s):  
Andre Indrawan ◽  
Noer Iskandar Albarsani ◽  
Kustap Kustap ◽  
Suryati Suryati
Keyword(s):  
Research Methods ◽  
Critical Analysis ◽  
Original Version ◽  
Classical Guitar ◽  
Musical Form ◽  
Basic Construction ◽  
New Approaches ◽  
The Difference ◽  
Astor Piazzolla ◽  
Musical Forms

This study examined the characteristics of Kunimatsu’s guitar arrangements in Astor Piazzolla’s Oblivion by comparing aspects of musical form, melody, and harmony. As with other arrangements’ performances, the primary motif of Astor Piazzola’sOblivion melodic theme in Kunimatsu guitar arrangement has always been played differently from the original version. This performance phenomenon could responsibly risk blurring the identification of structural boundaries within its musical form. The purpose of this study is to prove the basic construction of Oblivion melody, including its form structure and rhythmic characteristics, by comparing Kunimatsu’s arrangements against the composer’s original score. This study uses musicological research methods. The approaches applied in studying this work are analytical, theoretical, and comparative.  This study compares the two data to reveal the musical forms and the differences in the primary motive rhythmic characteristics. The results of this study are findings of the Oblivion musical forms in both publications and the differences in primary motives rhythmic patterns in both sources. The difference in musical form is impressive, possibly caused by the insertion of auxiliary members. As a result, Kunamitsu arrangement includes using the two-part song form, originally a three-part song form. With the revelation of the original melodic structure that is clear from the results of this study, the musicians who will present the Oblivion will at least have the essential reference in their interpretation. This research contributes to expanding studies in classical guitar performance and musical forms and new approaches in textual musicological analysis that are still infrequent.

scholarly journals L’incorporation d’éléments du jazz dans le tango d’Astor Piazzolla

2018 ◽  
Vol 4 (2) ◽  
pp. 118-135
Author(s):  
Thomas Fontes Saboga Cardoso
Keyword(s):  
Nous Examinons ◽  
Astor Piazzolla

Nous examinons dans cet article la combinaison entre tango et jazz proposée par le compositeur et bandonéoniste argentin Astor Piazzolla (1921-1992). Les traits du tango y sont privilégiés, constituant les éléments de base repérables principalement dans des gestes mélodiques, des modèles d’accompagnement et des timbres caractéristiques très fréquemment employés, qui assurent aussi bien la cohésion et l’unité musicale que l’identité de ce genre urbain argentin, la centralité du tango figurant comme le principal moyen d’articuler ces univers. Nous observerons également une autre stratégie employée par le compositeur, consistant à profiter des caractéristiques communes des musiques métissées comme moyen pour atteindre l’alliance sonore – le métissage par intersection.

scholarly journals Astor Piazzolla: el as de la ruptura

2021 ◽  
pp. 206-213
Author(s):  
Clara Stern Rodríguez
Keyword(s):  
Astor Piazzolla
Sign in / Sign up

Export Citation Format

Share Document