Collective Difference: The Pan-American Association of Composers

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EXAMPLE 1.12. William Russell, Fugue, mm. 9-16. Answer in xylophone and countersubject in snare drum with accented rhythm..........................................................49 EXAMPLE 1.13a. José Ardévol, Estudio, mm. 1-6. ........................................................54 EXAMPLE 1.13b. José Ardévol, Estudio, m. 5, second system. Accelerated time values as in Russell’s Fugue (shown in Example 1.11 above). ...................................................54 EXAMPLE 1.14a. José Ardévol, Estudio. Actual notation <strong>of</strong> rhythmic subject, mm. 1-6. ............................................................................................................................................57 EXAMPLE 1.14b. José Ardévol, Estudio. Rhythmic subject in 4/4 (my rewrite) ...........57 EXAMPLE 1.15. José Ardévol. Estudio, mm. 4-5. Cinquillo. .........................................57 EXAMPLE 1.16a. Edgard Varèse, Ionisation, mm. 8-12. ...............................................58 EXAMPLE 1.16b. William Russell, Fugue, mm. 1-8. .....................................................58 EXAMPLE 1.16c. José Ardévol, Estudio . . . fuga, mm. 1-6. ..........................................58 EXAMPLE 3.1. Adolph Weiss, <strong>American</strong> Life, mm. 1-3. ................................................98 EXAMPLE 3.2. Carlos Chávez, Energía, mm. 35-36. (Melville, NY: Belwin Mills, 1968), 12. ........................................................................................................................102 EXAMPLE 3.3. Alejandro García Caturla, Bembé: An Afro-Cuban Movement, mm. 83- 87 (Paris: Senart, 1930), 9. ..............................................................................................104 EXAMPLE 3.4. Wallingford Riegger, Three Canons for Woodwinds, mm. 21-25. (San Francisco, CA: New Music, 1932), 4. ............................................................................106 EXAMPLE 3.5. Henry Cowell, Two Appositions, first movement, mm. 1-7. ...............111 EXAMPLE 4.1a. Alejandro García Caturla, “Bito Manue,” mm. 21-24. ......................145 EXAMPLE 4.1b. Alejandro García Caturla, “Bito Manue,” mm. 59-62. ......................145 EXAMPLE 4.1c. Alejandro García Caturla, “Bito Manue,” mm. 65-68........................145 EXAMPLE 4.2. Alejandro García Caturla, “Bito Manue,” mm. 1-8..............................146 EXAMPLE 4.3. Amadeo Roldán, “Sigue” (Motivos de son), mm. 1-16........................148 EXAMPLE 4.4. Amadeo Roldán, “Negro Bembón” (Motivos de son), mm. 1-6...........148 x
EXAMPLE 4.5. Amadeo Roldán, “Sigue,” mm. 17-21. ................................................149 EXAMPLE 4.6. Amadeo Roldán, “Sigue,” mm. 4-13. ..................................................150 EXAMPLE 4.7a. Rhythm for the tresillo........................................................................150 EXAMPLE 4.7b. Rhythm for the cinquillo ....................................................................150 EXAMPLE 4.7c. Rhythm for the lundu......................................................................... 150 EXAMPLE 4.8. Amadeo Roldán, “Sigue,” mm. 1-6. Tresillo and its elaborations in the accompaniment. ..............................................................................................................151 EXAMPLE 4.9. Amadeo Roldán, “Sigue,” mm. 28-31. “Drumming” rhythms.............151 EXAMPLE 4.10. Silvestre Revueltas, “Canto de una muchacha negra,” mm. 12-13. Inverted “stride” based on gesture similar to James P. Johnson’s in “I’m Gonna Sit Right Down and Write Myself a Letter,” 1930. .......................................................................155 EXAMPLE 4.11. Silvestre Revueltas, “Canto de una muchacha negra,” mm. 16-17. “Plodding” chords, as in Leroy Carr’s “How Long, How Long Blues,” 1928................156 EXAMPLE 4.12. Silvestre Revueltas, “Canto de una muchacha negra,” mm. 16-17. Improvisatory vocal line with reciting tone (C) and surrounding thirds.........................156 EXAMPLE 4.13. Silvestre Revueltas, “Canto de una muchacha negra,” m. 1. Piano’s sighing gesture. ...............................................................................................................156 EXAMPLE 4.14. Carlos Chávez, “North Carolina Blues,” mm. 18-27. ........................165 EXAMPLE 4.15. Carlos Chávez, “North Carolina Blues,” mm. 43-48..........................166 xi
Page 1 and 2: FLORIDA STATE UNIVERSITY COLLEGE OF
Page 3 and 4: ACKNOWLEDGMENTS I would like to exp
Page 5 and 6: TABLE OF CONTENTS List of Figures .
Page 7 and 8: LIST OF FIGURES FIGURE I.1. Pan-Ame
Page 9: LIST OF MUSICAL EXAMPLES EXAMPLE 1.
Page 13 and 14: INTRODUCTION Friendly cultural and
Page 15 and 16: of America, and [to] stimulate comp
Page 17 and 18: United States, because of its wonde
Page 19 and 20: Figure I.1. Pan-American Exposition
Page 21 and 22: the New Music Quarterly Recordings
Page 23 and 24: CHAPTER 1 1930s PAN-AMERICAN PERCUS
Page 25 and 26: publication composed for percussion
Page 27 and 28: of scientific and technological adv
Page 29 and 30: In his Tecumseh, or the Battle of t
Page 31 and 32: percussion ensemble, eight pianos a
Page 33 and 34: in those popular dance genres. The
Page 35 and 36: concertmaster of the New York Philh
Page 37 and 38: Example 1.1. William Russell, Percu
Page 39 and 40: instruments that contributed to the
Page 41 and 42: Example 1.4. Amadeo Roldán, Rítmi
Page 43 and 44: Rítmica No. 5 separates rhythmic e
Page 45 and 46: Paris, “there is nothing more con
Page 47 and 48: of decadence and collapse.” 44 Ne
Page 49 and 50: Example 1.7. Ionisation, mm. 9-12 S
Page 51 and 52: Example 1.8b. Edgard Varèse, Ionis
Page 53 and 54: Example 1.9b. Amadeo Roldán, Rítm
Page 55 and 56: coquettes neither with academies no
Page 57 and 58: Rhythms and general direction of pi
Page 59 and 60: No. 1 conducted by Fritz Reiner wit
Page 61 and 62:
against-three cross-rhythm (Example
Page 63 and 64:
knowledge of it. Certainly, the sam
Page 65 and 66:
with both Roldán and Caturla in th
Page 67:
fortissimo 83 and are immediately f
Page 70 and 71:
wrote in 1932, “I am convinced th
Page 72 and 73:
subject of his early percussion wor
Page 74 and 75:
societies, the PAAC presented at le
Page 76 and 77:
their own PAAC concerts in Havana a
Page 78 and 79:
in Berlin was unsuccessful in Cowel
Page 80 and 81:
This music congress never took plac
Page 82 and 83:
most likely in the hope that he wou
Page 84 and 85:
from Fabini - and Cotapos did not e
Page 86 and 87:
sponsored by the League of Composer
Page 88 and 89:
neither Cuban nor American, nor eve
Page 90 and 91:
Figure 2.1. Concert program, Carneg
Page 92 and 93:
Figure 2.3. Concert program, Slonim
Page 94 and 95:
and somewhat soporific.” 39 With
Page 96 and 97:
Figure 2.4. Concert program, New Sc
Page 98 and 99:
composers of the Pan American, amon
Page 100 and 101:
voz, who stated unequivocally of Ge
Page 102 and 103:
Caturla’s insightful description
Page 104 and 105:
modern American music to these citi
Page 106 and 107:
organizer and financier, and Slonim
Page 108 and 109:
Paris, June 6 and 11, 1931 Paris in
Page 110 and 111:
Example 3.1. Adolph Weiss, American
Page 112 and 113:
elated to Cowell, “the final gong
Page 114 and 115:
however, attributed to the work a m
Page 116 and 117:
of American popular culture in the
Page 118 and 119:
Example 3.4. Wallingford Riegger, T
Page 120 and 121:
musicians seem to turn their invent
Page 122 and 123:
July,” with its quotations from t
Page 124 and 125:
as a medium. Slonimsky described To
Page 126 and 127:
a generation of older composers inc
Page 128 and 129:
the twelve-tone system. Roldán’s
Page 130 and 131:
sponsored many concerts of new Fren
Page 132 and 133:
Figure 3.2. Concert program. Madrid
Page 134 and 135:
in collaboration with Cowell’s Ne
Page 136 and 137:
which I gave the names of Ives, Rug
Page 138 and 139:
Figure 3.5. Concert program. Budape
Page 140 and 141:
talent.” 81 In January 1933 Varè
Page 142 and 143:
The evening consisted of Ruggles’
Page 144 and 145:
on four Latin American PAAC members
Page 146 and 147:
having been governed by Spain (1764
Page 148 and 149:
God’s America, Spanish America.
Page 150 and 151:
Blues and Son: Pan-American Literar
Page 152 and 153:
example is “I, Too, Sing America,
Page 154 and 155:
cultural expressions that defined a
Page 156 and 157:
the repeated lines “tú no sabe i
Page 158 and 159:
Example 4.2. Alejandro García Catu
Page 160 and 161:
Example 4.3. Amadeo Roldán, “Neg
Page 162 and 163:
Example 4.6. Amadeo Roldán, “Sig
Page 164 and 165:
in Havana. Mexican composers Cháve
Page 166 and 167:
Revueltas . . . asked me if I had o
Page 168 and 169:
Example 4.11. Silvestre Revueltas,
Page 170 and 171:
applying Marxist social theory to t
Page 172 and 173:
present in the preceding stanza, le
Page 174 and 175:
Figure 4.1. Carlos Chávez, “Nort
Page 176 and 177:
A slave—under the whip, Beaten an
Page 178 and 179:
may be mistaken for Blacks). Each s
Page 180 and 181:
however, the logo was changed to re
Page 182 and 183:
as well as other musical heritages.
Page 184 and 185:
Henry Brant, Two Sarabandes Adolph
Page 186 and 187:
Charles Weidman assisted by José L
Page 188 and 189:
JUNE 6, 1932 Hause des Rundfunks, B
Page 190 and 191:
Claude Debussy, La fille aux cheveu
Page 192 and 193:
Alejandro García Caturla, La Rumba
Page 194 and 195:
Paul Dambly, A Paris June 26, 1931.
Page 196 and 197:
Oscar Bie, Stuttgarter Neues Tagebl
Page 198 and 199:
BIBLIOGRAPHY Aharonián, Coriún.
Page 200 and 201:
___, ed. Yearbook for Inter-America
Page 202 and 203:
García Canclini, Nestor. Hybrid Cu
Page 204 and 205:
Kuss, Malena. "Leitmotive de Charle
Page 206 and 207:
“Nuts! to Europe: Swell Stuff by
Page 208 and 209:
___. “The Newest American Compose
Page 210 and 211:
Unruh, Vicky. Latin American Vangua
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Collective Difference: The Pan-American Association of Composers

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