Collective Difference: The Pan-American Association of Composers

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Silvestre Revueltas, “Canto de una muchacha negra” (1938) ...............151 Carlos Chávez, “North Carolina Blues” (1942) ....................................155 EPILOGUE: FROM PAN-AMERICAN TO INTER-AMERICAN...............................167 APPENDIX A. CONCERTS OF THE PAN-AMERICAN ASSOCIATION OF COMPOSERS ................................................................................................................171 APPENDIX B. LIST OF EXTANT CONCERT PROGRAMS AND REVIEWS OF THE PAN-AMERICAN ASSOCIATION OF COMPOSERS ..............................................181 BIBLIOGRAPHY ...........................................................................................................186 BIOGRAPHICAL SKETCH .........................................................................................199 vi
LIST OF FIGURES FIGURE I.1. Pan-American Exposition Official Seal by artist Raphael Beck....................7 FIGURE 1.1. Some Percussion Ensemble works written between 1929 and 1942...........12 FIGURE 1.2. Diagram of a teponaztli. Daniel Castaneda and Vicente T. Mendoza, Instrumental precortesiano (Mexico City: Museo Nacional de Arqueologia, Historia y Etnografia, 1933; reprint Mexico City: UNAM, 1991), unnumbered insert.....................20 FIGURE 1.3. Henry Cowell, Ostinato Pianissimo. Diagram of each ostinato..................44 FIGURE 1.4. William Russell, Fugue. Form diagram.....................................................49 FIGURE 1.5. Estudio en forma de preludio y fuga, instrument groups (voices) in the fugue and the measures in which they appear...................................................................55 FIGURE 1.6. Jose Ardevol, Estudio en forma de preludio y fuga. Form diagram............56 FIGURE 2.1. Concert program, Carnegie Chamber Hall, April 21, 1930........................78 FIGURE 2.2. Program cover for Henry Cowell’s solo concerts in Havana, December 23, and 26, 1930. Cowell Papers, NYPL.................................................................................79 FIGURE 2.3. Concert program, Slonimsky’s performances with the Havana Philharmonic, March 18 and 21, 1931. Cowell Papers, NYPL.........................................80 FIGURE 2.4. Concert program, New School Auditorium, November 4, 1932. Cowell Papers, NYPL....................................................................................................................84 FIGURE 2.5. Concert Program of Alejandro García Caturla’s Orquesta de Conciertos de Caibarién, April 15, 1933...................................................................................................87 FIGURE 2.6. Alejandro García Caturla, “Fanfarria para despertar espiritus apolillados.” The Fleisher Collection, Free Library of Philadelphia......................................................89 FIGURE 3.1. Concert program. Paris, February 21, 1932 (Cowell Papers, New York Public Library for the Performing Arts)..........................................................................110 FIGURE 3.2. Concert program. Madrid, November 23, 1931 (Cowell Papers).............120 vii
Page 1 and 2: FLORIDA STATE UNIVERSITY COLLEGE OF
Page 3 and 4: ACKNOWLEDGMENTS I would like to exp
Page 5: TABLE OF CONTENTS List of Figures .
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 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
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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
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This music congress never took plac
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most likely in the hope that he wou
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from Fabini - and Cotapos did not e
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sponsored by the League of Composer
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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
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and somewhat soporific.” 39 With
Page 96 and 97:
Figure 2.4. Concert program, New Sc
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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
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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
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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
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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,
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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
Page 172 and 173:
present in the preceding stanza, le
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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.
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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
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García Canclini, Nestor. Hybrid Cu
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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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