Collective Difference: The Pan-American Association of Composers

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Example 1.5. Amadeo Roldán, Rítmica No. 5, first page. Example 1.6. Amadeo Roldán, Rítmica No. 5, mm. 35-47. Layered entrances of the 3-2 son clave. These measures sound exactly like what one would expect from the figure above: a canon. This passage is an early example of canonic writing for percussion, a technique that was emulated by composers of percussion fugues discussed later in this chapter. 30
Rítmica No. 5 separates rhythmic elements of the popular son and reconstructs them to create a piece of music fit to participate in international modernism by virtue of its combination of local forms, rhythms, and timbres, and its international qualities such as rhythmic experimentation and brief incorporation of canon. Rítmica No. 6 is Roldán’s interpretation of what he heard on the streets of Havana. This is not the commercial rumba played in the cabarets and nightclubs of Paris or New York. It is the noncommercial rumba, a music and dance that developed in the Black urban slums of Havana and Matanzas in the late nineteenth century. The noncommercial rumba sounds more African due to the cyclic nature of the rhythms and the fact that it utilizes only percussion and voices. 29 In No. 6 rhythmic cells enter but never drop out of the texture; they become more elaborate and improvisational-sounding until the work ends on a loud climax. Some confusion has resulted from several sources that list “Rítmicas (for percussion)” on a PAAC concert in New York City on March 10, 1931. 30 The New York Times announcement on March 9 listed Roldán’s work as “Four Rítmicas” (Nos. 1-4, which include no percussion). The rest of the program on March 10 consisted of pieces for chamber instrumental ensembles without percussion. Due to practical concerns (both percussionists and percussion instruments—especially Afro-Cuban ones—were difficult to obtain), no other PAAC concert presented only one piece for percussion ensemble. According to Roldán biographer Zoila Gomez, Rítmicas Nos. 1-4 were presented on a program of Cowell’s New Music Society in San Francisco in 1930 and “in 1931 they were conducted by Adolph Weiss in New York” 31 (the March 10 performance, which was the only PAAC concert Weiss conducted in 1931). In their book Amadeo Roldán: Testimonios, editors María Antonieta Henríquez and José Piñero Díaz confirm a New 29 For more on the differences between commercial and noncommercial rumba, see Robin Moore, “Poetic, Visual, and Symphonic Interpretations of the Cuban Rumba: Toward a Model of Integrated Studies.” Lenox Avenue: A Journal of Interarts Inquiry 4 (1998), 101. 30 This appears in Deane Root, “The Pan American Association of Composers (1928-1934),” Anuario Interamericano de Investigación Musical 8 (1972): 62. It is repeated in Carol Oja’s appendix to Making Music Modern: New York in the 1920s. (New York: Oxford University Press, 2000), 394. 31 Zoila Gomez, Amadeo Roldán, 72. 31
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 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: Example 1.4. Amadeo Roldán, Rítmi
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
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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
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talent.” 81 In January 1933 Varè
Page 142 and 143:
The evening consisted of Ruggles’
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on four Latin American PAAC members
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having been governed by Spain (1764
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God’s America, Spanish America.
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Blues and Son: Pan-American Literar
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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
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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
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present in the preceding stanza, le
Page 174 and 175:
Figure 4.1. Carlos Chávez, “Nort
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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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