Collective Difference: The Pan-American Association of Composers

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Mendoza, Daniel Ayala, Blas Galindo, and Silvestre Revueltas. Chávez was, therefore, among the first to teach non-Western music in an academic setting. Figure 1.2. Diagram of a teponaztli. Daniel Castañeda and Vicente T. Mendoza, Instrumental precortesiano (Mexico City: Museo Nacional de Arqueologia, Historia y Etnografia, 1933; reprint Mexico City: UNAM, 1991), unnumbered insert. One goal of these seminars was to explore ways to incorporate indigenous instruments, mostly percussion, into Mexican orchestral music. In a 1936 article in Modern Music Chávez explained that the seminars resulted in “the group of instruments we call the Mexican Orchestra . . . a specially balanced ensemble of conventional instruments with the addition of huéhuetls, teponaxtles, chirimias, and various kinds of water-drums [and] rasps.” 18 At that time, however, although all of the seminarians worked toward incorporating such percussion in their compositions, none of them composed for an all-percussion ensemble. In fact, Chávez would not do so until 1942, when he wrote Toccata for percussion at the behest of John Cage. In Cuba during the 1920s the commercialization and internationalization of son and rumba led some composers to experiment with the Afro-Caribbean rhythms present 18 Ibid. 20
in those popular dance genres. The international movement of negritude and the appropriation of blackness by white Cuban society led to the adoption of this popular music as an agent of nationalization. Composers such as Amadeo Roldán and Alejandro García Caturla, however, adapted the instruments and rhythms associated with son and commercial rumba to modernist frameworks, affirming their participation in international modernism that had been established in Cuba by the grupo minorista. 19 In several South American countries composers experimented with native materials in order to achieve modernist national musics. This chapter, however, is limited to three American countries in which percussion ensemble works were composed in the 1930s: Cuba, Mexico, and the United States. Composers from these three countries had more contact with each other during this decade than any of them had with composers in South America (with the exception of Brazilian Heitor Villa-Lobos). That would change dramatically in the following decade, when the Pan-American spectrum was broadened as a result of increased geopolitical awareness caused by the Second World War. Some Pan-American musical developments of the 1940s are briefly discussed in the Epilogue to this dissertation. As political and economic circumstances ushered in a new era of Pan-American sentiment U.S. composers expanded their compositional purview to include Latin American musics as well. Throughout the 1920s a vogue for Hispanic culture, particularly Mexican and Cuban, provided fertile soil for the cultivation of Pan-American exchanges. In some ways this vogue merely expanded the concept of the “frontier,” which had long been a potent force in the history of American ideas. 20 As the western frontier of the United States was settled and the north became increasingly industrial, a new frontier emerged: the largely agricultural societies in Latin America, which provided the U.S. with a new space for economic and artistic cultivation. 19 The grupo minorista (minority group) was comprised of artists, writers, and composers from Cuba’s leftist intellectual vanguard who, building on the work of Cuban ethnologist Fernando Ortiz, recognized the significant contribution of West African traditions to postcolonial Cuban culture. The group included Alejo Carpentier, José A. Fernández de Castro, Jorge Mañach, and José Z. Tallet, among many others. Their political and cultural manifesto appeared in Social in June 1927. They began a journal, the Revista de Avance, the same year. 20 See, for example, J. Hector St. John de Crevecoeur, Letters from an American Farmer (1782, reprinted, New York: Dover, 2005). 21
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 and 10: LIST OF MUSICAL EXAMPLES EXAMPLE 1.
Page 11 and 12: EXAMPLE 4.5. Amadeo Roldán, “Sig
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: percussion ensemble, eight pianos a
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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