LA MúsiCa, V Rojo, G Galindo, R Doyle, P Hayes, D Dennehy

Tags: Latin American Music Center, Latin American, Indiana University, Mexico, chamber orchestra, Brent Michael Davids, William Banfield, Jon Appleton, Mario Lavista, Cary Boyce, Erick Carballo, LAMC, SATB, Mark Menzies, Raymond Torres-Santos, Marjorie Rusche, Jimena Andonie, David Dzubay, Ileana P�ez-Vel�quez, David Baker, Peter Jacobi, Artistic Director, Mario A. Ortiz, Gustavo Matamoros, Latin American Music, Sor Juana, Indiana University School of Music, International, electroacoustic music, Juancho Lucena, Jos��ngel Lamas, Juan de Araujo, Latin America, International Conference, Irish composers, Salazar Piano Sonata Arturo Salinas Stelmni, Mexican Music, Manuel Rocha Iturbide, United States, Juan de Herrera, Luis Carlos Figueroa, Juan Carlos, Luis Torres Zuleta, Luis Antonio Escobar, Ireland, Juan Francisco Sans, Francisco Zumaque, Gilberto Mendes Beba Coca Cola, Carmen Gabriela, American repertoire, Ponce de Le� La mirla blanca, Mario G�ez Vignes, Luis Jorge, Jos�Rozo Contreras, Arturo M�quez, Carlos Vinholes Existencialismo, string quartet, Carlos V�quez, Fabia Gonz�ez Zuleta, Leticia Cuen, Belo Belo, Sociedade Brasileira de Musicologia, saxophone quartet, Lindembergue Cardoso, la Catedral de Oaxaca, Hilda Paredes Ikal, Bernardo Feldman Manantial, Alejandro Tobar, Eugenio Toussaint Popol-Vuh, Ignacio Cervantes, solo flute, Eyzaguirre Aire, Gayle Cook Music Library, Moleiro Works for piano, Lorca Cergio Prudencio La Ciudad, Ricardo Dal Farra Publications Guillermo, percussion, Works for piano, la Catedral de Santafe de Bogot, Concerto for piano and orchestra, Juan Orrego-Salas Symphony, Vicente Emilio Sojo Aguinaldos, Los Bailes de Ihnap, Carlos Vieco Patasdilo, Christopher Paddack, Puerto Rico Juan Trigos, Guatemala Luis Diego Herra, Mexico Roberto Sierra, Mexico Marc Satterwhite, Leonard Phillips, Gabriela Ortiz, Puerto Rico, Colombia Christopher Preissing, Cuba Timothy Olsen, Guatemala Stefan Freund, Raymond Torres Santos, Juan Trigos, Fondo Nacional de la Cultura, Martin Fumarola, Latin American Computer Music Association, Sor Juana In� De La Cruz, Dennis Russell Davies, Mario Ortiz, Jose Luis Barrios Lara Universidad del Claustro de Sor Juana, Universidad del Claustro de Sor Juana, Rodrigo Riera, Music Director, American Composers Orchestra, Arizona State University, Composition Competition, composition, Aurelio Tello, Christopher Cook, Cuba Jeeyoung Kim, Consolationis Dominam Nostram, Chantal Dalton, Meredith Monk, Christopher Smith, Charles Webb, Marc Satterwhite, Emeritus Ellen Sieber, email discussion list, Professor Wayne Jackson, Kennedy Veal, Leticia Zapata, Williams Panchi, Afro-American Arts Institute Willis Barnstone, Neil Leonard, John Corigliano, Juan Orrego-Salas, Christopher Preissing, Mario Ortiz-Acu�, Timothy Olsen, Universidad Nacional de C�doba, Composition Dept., Creative Arts Exchange Program, Lincoln Hanks, Ricardo Lorenz, Luiz Fernando Lopes, IU Contemporary Vocal Ensemble, Bibliography Assistants, Martha Ch�ez-Camacho, Comparative Literature Peter Burkholder
Vol. 2 No. 2 CONTENTS § Electroacoustic Dialogue between Ireland and Mexico
§ Antologнa de la Mъsica Clбsica Contemporбnea
§ From the Director's Desk
§ General Announcements
§ Rodrigo Riera: International Guitar Composition Competition
§ Sor Juana Inйs de la Cruz
§ LAMC On-line: Asociaciуn Latinoamericana de Informбtica Mъsical
§ Mario Lavista's Missa Brevis
§ Crossroads of Tradition: The Second Inter-American Composition Workshop: Who's Who Concert Series Lectures/Workshops Performers § Material Received at the LAMC
February 1997 International Collaborations Electroacoustic Dialogue between Ireland and Mexico The Museum of Modern Art Carrillo Gil in Mexico City in collaboration with Manuel Rocha Iturbide is organizing two electroacoustic music concerts on February 14 and 21 that will take place along with the exhibition Distant Relations. This show about Mexican and Irish artists intends to reflect the cultural identity and similarities between our two cultures. Two electroacoustic pieces were commissioned from the composers Manuel Rocha Iturbide from Mexico and Roger Doyle of Ireland. Other electroacoustic music pieces by Mexican and Irish composers will be programmed for the two concerts. The composers participating are the following: from Mexico,Manuel Rocha Iturbide, Antonio Fernбndez Ros, Roberto Morales, Vicente Rojo, Guillermo Galindo; from Ireland, Roger Doyle, Paul Hayes, Donnacha Dennehy, and Rhona Clarke. For more information about the exhibition and the music look at the two following websites: You may also contact Manuel Rocha Iturbide at 106136,[email protected]
Antologнa de la Mъsica Clбsica Contemporбnea
The Convenio Andrйs Bello, with the support of Circuito Sinfуnico Latinoamericano Simуn Bolнvar has produced a compact disc: Antologнa de la Mъsica Clбsica Contemporбnea. The project includes works by composers and performers of the countries affiliated with this International Organization: Bolivia, Colombia, Chile, Ecuador, Panamб, Perъ, Venezuela, and Spain. Some of the material for the cd consists of recordings made during the Latin American Music festivals that have taken place recently in Venezuela.
The cd will be distributed gratis as educational material among cultural institutions in Latin America and the Caribbean, especially to music schools in the affiliated countries.
For more information contact:
Dr. Carmen Gabriela Menйndez Coordinadora del Бrea de Cultura Paralela Autop. Norte-Av. 13 no. 85-60 A.A. 53465 Santa Fй de Bogotб, D. C. Colombia
tel: fax: email:
(57-1) 6181701 (57-1) 6181712 (57-1) 6100139 [email protected]
from the director's desk . . . We return to the publication of our newsletter LAMъsiCa after a year of great activity, in which the Latin American Music Center has sponsored Crossroads of Traditions: the Second Inter-American Composition Workshop. We hope to be able to secure the conditions for maintaining this medium of communication with the international community of music professionals interested in the Latin American repertoire and in our activities. Your suggestions and your support are always appreciated. Since its foundation in 1961, it has been the objective of the Latin American Music Center to promote the research and performance of Latin American music as well as professional interactions between musicians of the United States and Latin America. A broad and detailed study of the Latin American repertoire encourages the appreciation of its original contributions to Western culture and reveals how musical practices reflect developments in the Latin American societies and their interactions with other cultures of the world, yesterday and today. We are pleased to report that during the last two years several organizations in the United States and Latin America have showcased Latin American music in a variety of programs. The importance of these events lies in their periodicity and scope. These were not isolated concerts or projects designed to balance a season or to commemorate an anniversary, but recurrent festivals where the repertoire is presented with a specific perspective, in combination with comparative repertoire from the United States and Europe, and with well-researched program notes. The Latin American Music Center has been proud to contribute to these events with advice on the program selection, contact information for composers, performers and program annotators, and with general resources for research. We congratulate the following organizations, their programs, and their artistic directors for an exciting period of presentations of Latin American music. American Composers Orchestra: Sonidos de las Amйricas Concert Series. Dennis Russell Davies, Artistic Director; Tania Leуn, Latin American Music Consultant; Jesse Rosen, Executive Director Latin American Music Festivals in Caracas Alfredo Rugeles, Artistic Director IV Caribbean Composers Forum Alfredo Rugeles, Executive Secretary International Contemporary Music Festival of Bogotб Cecilia Casas, Artistic Director Subtropics Festival in Florida Gustavo Matamoros, Director Garden Concerts at the Modern Museum of Art, New York Joel Sachs, Artistic Director Encuentros de Mъsica Iberoamericana en Madrid Jesъs Villa Rojo, Director Dorian Recordings: Latin American Music Series Brian Levine, President and Executive Producer Latin American Music Now! Yehuda Yannay, Artistic Director University of Wisconsin-Milwakee We wish them continued success in their future activities. Carmen Tйllez LAMC Director
Global Voices On March 3, 1996, the Latin American Music Center, the Indiana University International Vocal Ensemble, and the University's FM radio stationWFIU presented Global Voices, an a cappella festival of world music. The concert featured the Bloomington based ensembles Upstart, Monkey Puzzle, and Vida, closing with the University's International Vocal Ensemble conducted by Mary Goetze. Songs from BosniaHerzegovina, South Africa, Venezuela, New Zealand, the United States, Macedonia, Serbia, Bulgaria, Latvia and Ireland were performed to an enthusiastic audience that crowded the Music School Recital Hall. On February 9 1996, the IU Contemporary Vocal Ensemble, conducted by Carmen Tйllez and Jan Harrington, premiered Sephardisms, an extended a cappella work by Argentine composerJorge Liderman who teaches at the University of California at Berkeley. On December 6, the CVE also performedBeba Coca Cola andNasce...Morre by Brazilian composerGilberto Mendes, also conducted by Carmen Tйllez.
Subtropics 7 Free Subtropics New Music Festival, March 22-April 8. Alongside important composers from the United States and Romania, this edition of the festival included performances of works by Cuban-born composers Gustavo Matamoros, Armando Tranquilino, JulioRoloff, OrlandoGarcнa, Armando Rodrнguez, and Mexican Javier Alvarez. Pianist Juan Francisco Sans and bassist Luis Gуmez-Imbert presented concerts with Latin American piano music and works for amplified doublebass and electronics by Venezuelan composers. For more information, please call the South Florida Composers Alliance at (305) 758-6676.
Call for Scores The CSUN Symphony (California State University, Northridge) is embarking on a project of performing Latin American symphonic music on their regularly scheduled programs. The CSUN is interested in receiving scores for orchestral forces ranging from strings to full symphonies. Of particular interest are works that reflect the sounds, spirit and flavor of their homeland.
Please send all scores to:
David Asks CSUN Music Department 18111 Nordhoff Street Northridge, CA 91330

Choral Workshop
Hispanic Influences in Choral Music will be the focus of the Des Moines International Children's Choral Festival, June 30-July 6, 1997. The Artists in Residence are the Schola Cantorum de Caracas, directed by Alberto Grau. There will be an international panel of adjudicators. For more information, please contact:
International Children's Choral Festival 525 E. 9th, Suite B Des Moines, Iowa 50309
phone: fax: email:
515-262-8312 515-262-8359 [email protected]

Bloomington Early Music Festival
The Latin American Music Center announces a concert of Colonial Music as part of the programs of the Bloomington Early Music Festival. The concert will feature the guest participation of the distinguished Colombian scholar and performer Egberto Bermъdez, who is preparing an anthology of the complete works of Gutierre Fernбndez Hidalgo and of other composers represented in the Archives of the Cathedral of Bogotб.
The concert will take place May 24 at 8 p.m. in Auer Hall at the IU School of Music. It will be preceded by a short symposium, open rehearsals and a workshop on issues of performance practice of Latin American Colonial repertoire. Details of this event will be announced in our website and email discussion list (lamc-l). For more information you may contact the Latin American Music Center after April 1 at [email protected]

International Conference on Mexican Music
Under the sponsorship of the University of Kansas at Lawrence, Professor Paul Laird organized the International Conference on Mexican Music, February 16 and 18, 1997. The Conference included presenters from the
Centro Nacional the Investigaciуn, Documentaciуn e Informaciуn Musical Carlos Chбvez (CENIDIM) and scholars from the United States. A report on the activities and proceedings will appear in the next issue of LAMъsiCa.
Piano Recital Chilean pianist Paulina Zamora offered a recital of 20th century music by Latin American composers as part of a special project with the LAMC. The program included the Bachianas Brasileiras no.4 by Heitor Villa-Lobos, Three Waltzes,Op.2 by Chilean composer Carlos Botto; Two Pieces for Piano by Andrйs Posada from Colombia, Two Pieces for Piano by Alfonso Montecino, Siete de Oro byGerardo Diriй, Rъstica by Juan Orrego-Salas, and Tres danzas argentinas by Alberto Ginastera .
Featured Composers The American Composers Orchestra, Dennis Russell Davies, Music Director, and Tania Leуn, Latin American Music Advisor were awarded the ASCAP-Morton Gould Award for Innovative Programming for the Festival Sonidos de las Amйricas. In addition, Tania Leуn has received the Chamber Music America Commission Award of 1995, as well as commissions for Chanticleer and the chamber ensemble Continuum. In the past summer,Hechizos was premiered at theBerlin Biennial Music Festival, and the works Bata and Carabali have recently been recorded by the Louisville Orchestra for First Edition Records. During the past year she was resident composer for the Berlin Biennial Music Festival, the Hammoniale Festival, and the Hamburg Musikschule. She also appeared as guest conductor in North Carolina, Germany, South Africa, and at the Metropolitan Opera. Tania Leуn was also visiting faculty at the First Inter-American Composition Workshop: Words and Music presented by the Latin American Music Center. Tania Leуn is preparing a major work to be premiered in Miami in November 1997, in collaboration with choreographer Bebe Miller and video artist Philip Mallory Jones. The work Drummin' was commissioned by the Miami Light Project, the New World Symphony, Miami Dade community college, and Arizona State University to celebrate the many ethnic rhythms found in the Miami area.
8. Three copies of the competing works must be sent to:
Latin American Music Center ATT: Rodrigo Riera Competition Indiana University School of Music Bloomington, IN 47405-2200 USA
Competition Guidelines The MAVESA Cultural Project and the Latin American Music Center at Indiana University announce the rules for the Second International Guitar Composition Competition RODRIGO RIERA 1997. 1. The Competition is open to composers of any age and nationality. 2. The Competition will accept works written for one, two or three guitars. 3. The competing works should have a minimum duration of eight minutes and a maximum of fifteen. 4. The score must be prepared according to the following recommendations: a. Notation and calligraphy must match accepted professional standards, and must include all necessary instructions for performance. Works with deficient calligraphy will be eliminated. The score must be copied with computer software or by hand with equivalent quality. b. Metronome and/or chronometer indications are required. The total duration of the work must be specified in the front page. Fingerings are optional, but recommended. c. Although it is not mandatory, it is recommended that a live recording or a MIDI sampled model be included. 5. The compositions must be identified with a pseudonym. 6. An envelope identified with the same pseudonym should be attached to the score. In it the composer must include a sheet with his or her name, personal address including fax and e-mail data if available, a publicity photo, a biographical note, and a copy of a document proving the participant's identity (such as a passport or driver's license). 7. Thedeadline for reception of scores isMarch 15, 1997. Composers are encouraged to take all precautions to secure the timely arrival of their materials.
9. The registration fee of $20 must be included with the rest of the materials, and must be paid with a check or money order drawn from a United States bank. 10. All works will be donated to the MAVESA Library at the Universidad Simуn Bolнvar in Caracas and to the Latin American Music Center at Indiana University. 11. The jury will award one indivisible prize of US $10,000. 12. The jury will also award three Honorary Mentions to the three finalists. 13. The winning composition and the three finalists cannot compete in the following editions of this competition. 14. The winning composition will be programmed as a required work in the Alirio Dнaz International Guitar Performance Competition of 1998. 15. The composition and the decisions of the jury will follow the following regulations: a. The jury will be composed by three distinguished composers with recognized experience in the composition of works for guitar. b. The jury will pronounce a reasoned verdict. c. The jury will meet during the last week of March 1997 to select the four finalist compositions. These pieces will be performed in concert during the Festival Internacional de Agosto 1997 in Caracas. d. The jury will announce its verdict on August 2, 1997, during the closing ceremonies of the Festival Internacional de Agosto. For more information please contact: Latin American Music Center Indiana University School of Music Bloomington, IN 47405-2200 phone: (812) 855 2991 email: [email protected]
Sor Juana Inйs de la Cruz (1648-1695)
Mario Ortiz
The Universidad del Claustro de Sor Juana commemorated the three hundredth anniversary of Sor Juana's death with an International Congress in Mexico City on November 13-17, 1995. Scholars and students from Mexico, the United States, Canada, Spain, Italy, France, Germany, Switzerland, Colombia, Venezuela, and Argentina gathered to participate in the celebration that included masterclasses, lectures, concerts, art exhibits, theater, dance, social events, and the presentation of the book Sor Juana y su Mundo, a collection of essays pertaining to different aspects of Sor Juana's world. The work of Sor Juana has always attracted the attention of colonial Latin American music scholars and performers; Sor Juana was regularly involved in musical activities: teaching music in the Covento de San Jerуnimo (where she lived most of her life); writing villancicos and musical plays that were set to music by the leading composers in colonial Mexico; perhaps also(although no evidence exists to confirm this) composing some music; and most importantly, extensively using musical imagery in her poetry and writing specifically about music. There are also references by Sor Juana herself and some biographers that indicate that she wrote a musical treatise entitled El Caracol. The congress did not fail to honor the musical world of Sor Juana. Two concerts of Latin American colonial music were offered, the first program consisting of Sor Juana's villancicos set to music, with the ensemble La Capilla Virreinal de la Nueva Espaсa led byAurelio Tello. The second concert featured colonial baroque polyphony, presented by the Coro de la Catedral de la Ciudad de Mйxico. In addition to these concerts there was a special lecture session entitled "La pasiуn musical en el mundo de Sor Juana" ("The musical passion in Sor Juana's world"). The participants of this session were Josй Antonio Robles Cahero (Centro Nacional de Investigaciуn, Documentaciуn e Informaciуn Musical Carlos Chбvez, CENIDIM, Mexico City), Aurelio Tello (CENIDIM), and Mario A. Ortiz (Doctoral student of Musicology and Spanish Literature, Indiana University). Following are translations from the original Spanish abstracts of these lectures: Sor Juana y Euterpe: la pasiуn musical entre una monja y una musa ("Sor Juana and Euterpe: the musical passion between a nun and a muse") by Josй A. Robles. The interest in music was common in the literature of the sixteenth and seventeenth centuries; Cervantes, Gуngora, Quevedo, Lope de Vega and Calderуn de la Barca not only made musical
allusions but also wrote texts to be sung. The same happened among writers of the New World, particularly Juan Ruiz de Alarcуn and Sor Juana Inйs de la Cruz. In this sense, Sor Juana joins an old Western tradition of linking words and music. Her interest in the musical theory of her period is a well-known fact; her personal library included some of the most famous musical treatises of the time. Sor Juana y los maestros de capilla catedralicios ("Sor Juana and the cathedral chapel masters") by Aurelio Tello. Among the commissioned poetic works of Sor Juana, the villancicos and sacred works are of singular importance. However, both genres have always been studied from a literary perspective, without considering that these works were written specifically to be sung. The study of the musical aspects permits us to approach the relationship between Sor Juana and her contemporary composers, the traditional use of the villancico in religious celebrations and the projection of the written verses in cathedrals outside of New Spain. (See bibliography below) El discurso especulativo musical de Sor Juana ("The speculative musical discourse of Sor Juana") by Mario A. Ortiz. The European musical tradition underwent significant changes during the seventeenth century: the adoption of tonality, the challenge to older temperament systems, the shift of the position of music from the Quadrivium to the Trivium, and the definition of a new circular harmonic concept as opposed to the more traditional spiral conception, to name but a few. This paper analyzes Sor Juana's musical thought in regard to these transformations. Sor Juana's speculative musical discourse challenges and criticizes the new musical order and defends traditional concepts regarding the nature and the constitutive elements of music. Her main concerns are to defend: first, the music-mathematics relationship, strongly influenced by Pythagorean principles; second, the spiral harmonic concept; and finally, the Platonic aesthetic ideal of Beauty as a reflection of Harmony. Publication of these papers as part of the acts of the congress is in progress. For information please contact: Jose Luis Barrios Lara Universidad del Claustro de Sor Juana San Jerуnimo No. 47, Centro Histуrico Mйxico, D.F., 06080 Mйxico
Sor Juana Inйs De La Cruz and Music: Some Bibliographical Sources Lavista, Mario. "Sor Juana musicus." Pauta. Cuadernos de teorнa y crнtica musical. 6 (1983): 94-97. Long, Pamela H. "El caracol: Music in the Works of Sor Juana Inйs de la Cruz." Ph.D. Dissertation, Tulane University, 1990. Miranda, Ricardo. "Sor Juana y la mъsica: una lectura mбs." Pauta. Cuadernos de teorнa y crнtica musical. 15 ( 1995): 5-23. Paz, Octavio. Sor Juana Inйs de la Cruz o las trampas de la fe. Mйxico: Fondo de Cultura Econуmica, 1982. Stevenson, Robert. "Sor Juana Inйs de la Cruz's Musical Rapports: A Tercentenary Remembrance." Inter-American Music Review 15 (1996): 1-21. ________. "Sor Juana's Mexico City Musical Coadjutors: Josй de Loaysa y Agurto and Antonio de Salazar." Inter-American Music Review 15 (1996): 23-37. Tello, Aurelio. "Sor Juana Inйs de la Cruz y los maestros de capilla catedralicios o de los ecos concertados y las acordes mъsicas con que sus villancicos fueron puestos en mйtrica armonнa." Pauta. Cuadernos de teorнa y crнtica musical. 16 (1996): 5-26.
Asociaciуn Latinoamericana de Informбtica Musical (ALIM) The Latin American Music Center announces the creation of a new email discussion list: ALIM-L. ALIM stands for Asociaciуn Latinoamericana de Informбtica Musical (Latin American Computer Music Association), which we hope will soon develop into a public association dealing with Latin American electroacoustic and computer music. This list is intended to provide you with an avenue for exchanging news about works-in-progress, research-in-progress, performances, announcements of festivals and conferences, recording releases, etc., as well as compositional, technical, and theoretical aspects pertaining to this field. ALIM is a project presented by Martin Fumarola of the Universidad Nacional de Cуrdoba, Argentina, in collaboration with the Latin American Music Center. In order to subscribe to this list: 1- Send an email message to [email protected] 2- Leave the subject line blank 3- In the body of the message write subscribe alim-l your-first-name your-last-name If you have questions you may contact Martin Fumarola ([email protected]) or Erick Carballo ([email protected]). Recording of the Missa Brevis by Mario Lavista The Latin American Music Center is proud to announce the completion of the new compact disc of the Missa brevis ad Consolationis Dominam Nostram for a capella chorus, by the distinguished Mexican composer Mario Lavista. This work was commissioned by the LAMC and the IU Contemporary Vocal Ensemble with a grant from the US-Mexico Fund for Culture. The work was premiered on April 9 and 11, 1995 and elicited excellent reviews from the audience and the critics alike. "Lavista was born to write for the voice," wrote Peter Jacobi, chief critic of the Bloomington Herald Times. As part of the agreement with the sponsors, the compact disc with the documentary recording will be sent with corresponding study scores to select professional and university choruses in the United States and Mexico. A restricted number of cd's will be made available to interested patrons worldwide. If you would like to receive a copy, please send us a fax (812 855-4936) or email ([email protected]). You will be instructed about shipping and handling costs at that time.
The Latin American Music Center personnel--Director Carmen Tйllez and Coordinator Gerardo Diriй--express their gratitude to the following persons and institutions for their support, collaboration, and help in the realization of Crossroads of Traditions.
Charles Webb, Dean of the School of Music. Christopher Paddack and Jill Johansen of the Creative Arts Exchange Program at the United States Information Agency. All the Cultural Affairs Officers and their assistants in the countries that collaborated in this project: Merrie Blocker (Havanna, Cuba); Bertha Cea and Martha Chбvez-Camacho (Mexico); Lisa Johnson, Fondo Nacional de la Cultura (Mexico); Chantal Dalton (Costa Rica); Michael Orlansky (Guatemala); and Kennedy Veal (Honduras). Pam Duncan, secretary of the dean. Nancy Waldon, administration. Special thanks to Carol Reynolds for her help and patience. Skip Sluder, concert programs. Leonard Phillips, office of special programs. Professor Wayne Jackson and students of the audio technology department. Marty Prentice, Donetta Sirah, and Deborah Harden of the music operations office. Leornard Phillips, Lila Belnap, and most especially Dorothy Riggle of Room Scheduling. Dave Goodridge, stage manager for Auer Hall. Constance Mayer and staff members of the William and Gayle Cook Music Library scores and records library. Clovis Lark, Perfomance Ensembles Division of the music library. Carrie Root, publicity. Mike Pitts at the Residence Halls. Cary Boyce for establishing the collaboration with WFIU. Nancy Krueger of the IU Arts Museum. Leticia Zapata and Karen Groom of IU Printing Services for the design of the booklet and posters. The Bloomington Voice. Peter Jacobi and Kathleen Mills, The Herald Times. Tami Grafe of Carlson Travel. Armando Sesin and Alfredo Vega at Mikonos Viajes (Mexico). And finally special thanks to the Crossroads of Tradition team: Lucнa Patiсo, Concert Manager; Sally Todd, Assistant, Publicity; Krystal Prime, Public Relations Assistant; Dawn Reindl, Bibliography and Educational Resources; Mario Ortiz-Acuсa and Luiz Fernando Lopes, Editorial and Bibliography Assistants; Ileana Pйrez-Velбzquez, Videotaping; and Erick Carballo, Internet Resources.
Associate Composers Jimena Andonie, Honduras Brent Michael Davids, USA/ Mohican Nation Igor de Gandarias, Guatemala Luis Diego Herra, Costa Rica Guido Lуpez-Gavilбn, Cuba Timothy Olsen, USA Gabriela Ortiz, Mexico Marc Satterwhite, USA Raymond Torres-Santos, Puerto Rico Juan Trigos, Mexico Ricardo Zohn-Muldoon, Mexico Participants Paulo Alvarado, Guatemala Marнa Isabel Ciudad-Real, Guatemala Stefan Freund, USA Lincoln Hanks, USA
Raъl Iglesias, Cuba Jeeyoung Kim, Korea/USA Teresa LeVelle, USA Nicolбs Suбrez-Eyzaguirre, Bolivia Catalina Peralta-Cбceres, Colombia Ileana Pйrez-Velбzquez, Cuba Cйsar Potes, Colombia Christopher Preissing, USA Marjorie Rusche, USA Eugenio Toussaint, Mexico IU Faculty David Baker, Composition, Jazz Dept. William Banfield, Composition, Afro-American Arts Institute Willis Barnstone, Dept. of Comparative Literature Peter Burkholder, Musicology Dept. Thomas Dunn, Choral Conducting Dept. David Dzubay, Composition Dept.
Don Freund, Composition Dept. Glenn Gass, Composition Dept. Mary Goetze, Music Education Dept., International Vocal Ensemble Jan Harrington, Choral Conducting Dept. Jeff Hass, Composition Dept., Electronic Music Studio Eugne O'Brien, Composition Dept. Juan Orrego-Salas, LAMC Founder, Composition Dept., Professor Emeritus Ellen Sieber, Mathers Museum Christopher Smith, Musicology Dept. Ronald Smith, Mathers Museum, Folklore Dept. Special Guests Cary Boyce, USA - composer Mark Menzies, New Zealand - violinist
Kay Stonefelt, USA - percussionist Ricardo Gallardo, Mexico - percussionist Ricardo Lorenz, Venezuela - composer David Vayo, USA - composer Lukas Foss, USA - composer Jon Appleton, USA - composer Raъl Herrera, Mexico - pianist Anthony de Mare, USA - pianist Christopher Cook, USA - composer Gitanjali Mathur, India - singer Neil Leonard, USA - composer, saxophonist Josй Halac, Argentina - composer Guest Composers John Corigliano, USA Mario Lavista, Mexico Roberto Sierra, Puerto Rico
June 28
July 5, Anthony de Mare, piano
Christopher Preissing (USA, born 1960) Susurrus (1991), for tape, dancers and soft staging
Gordon Monahan Piano mechanics (1986)
Jimena Andonie (Honduras, born 1957) The Human Being (1995), for two guitars and string quartet Camargo Guarnieri (Brazil, 1907-1993) Songs: Den Bau, Quando Enbalada, Vou me embora, for soprano and piano Juan Trigos (Mexico, born 1965) Liguero, for mezzo soprano, flute, clarinet, saxophone, guitar, percussion
Ricardo Lorenz (Venezuela, born 1961) Tres йxitos Elliot Carter (USA, born 1908) 90+ Meredith Monk (USA, born 1942) The Tale Astor Piazzolla (Argentina, 1921-1992) Adiуs Nonino
Brent Michael Davids (Mohican Nation/USA, born 1959) Elixir, for assorted flutes and percussion Christopher Cook (USA, born 1962) Bluescape, for piano and tape Roberto Sierra (Puerto Rico, born 1953) Trнptico, for guitar and string quartet Neil Leonard (USA, born 1959) Passage, for saxophone and interactive computer system Jeffrey Hass (USA, born 1953) Keyed Up (1996), two pianos and tape
Timothy Olsen (USA, born 1961) Immoderate Acts, for trumpet and drum set June 29 Raymond Torres-Santos (Puerto Rico, born 1958) Salsa y Tres Soneos, for piano
Gustavo Matamoros (Venezuela, born 1957) RE: TdM(are) (1996) Frederic Rzewski (USA, born 1938) De Profundis (1992) July 6
July 13 David Vayo (USA, born 1957) Wings, for cello and piano Jon Appleton (USA, born 1939) Turkina Suite, for two pianos
Catalina Peralta (Colombia, born 1963) Atavismos-Regresiуn I, for saxophone quartet Williams Panchi (Ecuador, born 1964) Enotirt (1995) for solo flute
Marc Satterwhite (USA, born 1954) Mъsico en la nada, for trumpet and bass drum David Baker (USA, born 1931) Roots II (1992), for violin, cello and piano
Marjorie Rusche (USA, born 1949) Scenes from the opera She Stoops to Conquer Jeeyoung Kim (Korea, born 1968) The Repose of Motion (1996)
David Dzubay (USA, born 1964) Threnody, for string quartet June 30 Alfonso Montecino (Chile, born 1924) Sonata for Two Pianos Don Freund (USA, born 1943) Backyard Songs, for soprano, flute and harp Raymond Torres Santos (Puerto Rico, born 1958) Divertimento, for woodwind quintet Juan Orrego Salas (Chile, born 1919) 3 Cбnticos Sagrados, Op. 108 (1995), for mixed choir, flute, clarinet, horn, harp, percussion and string quartet July 3, Mark Menzies, violin Ileana Pйrez-Velбzquez (Cuba, born 1964) "... un ser con unas alas enormes" (1996), for violin and tape Manuel Enrнquez (Mexico, 1926-1994) Reflexiones, for solo violin Stefan Freund (USA, born 1974) On Fire, for violin and piano Teresa LeVelle (USA) Epitaph (1993), for solo violin Hiroyuki Itoh (Japan, born 1966) Angel of Despair (1995), for violin and tape Morton Feldman (USA, 1926-1987) Vertical Thoughts II (1963), for violin and piano Jason Stanyek (USA, born 1969) Four Violins (1996), for violin and tape Henry Cowell (USA, 1897-1965) Hymn and Fuging Tune No. 16 (1963), for violin and piano
Eugene O'Brien (USA, born 1945) Black Fugatos, for alto flute, violin, harp, cello and vibraphone July 7 Raъl Iglesias (Cuba, born 1933) Dos maneras de ser, for solo oboe Lincoln Hanks (USA, born 1969) Summer Ends, for men's choir Ricardo Zohn Muldoon (Mexico, born 1961) Flores del viento (1990), for baritone, flute, clarinet, cello, percussion and piano Cary Boyce (USA, born 1955) Shattered Rainbows, for 2 flutes, oboe, violin, viola, cello, double bass and piano William Banfield (USA, born 1961) Three short prayers, for choir, organ and cello Guido Lуpez Gavilбn (Cuba, born 1944) El guayaboso La aporrumbeosis July 10 Glenn Gass (USA, born 1956) Shojoshin-in chants, for solo cello Gabriela Ortiz (Mexico, born 1964) Rнo de las mariposas, for two harps and steel drum Luis Diego Herra (Costa Rica) Sonata for piano Roberto Sierra (Puerto Rico, born 1953) Bongу-0, for solo bongos July 12 Teresa LeVelle (USA, born 1966) Apparition at Timber Creek, for double bass and harp
Igor de Gandarias (Guatemala, born 1953) Encuadres, for four percussionists Timothy Olsen (USA, born 1961) Rhumba Phase, for five percussionists July 13, Raъl Herrera, piano Mexican Piano Music from the Period 1880-1910 July 14, Sounds of the Imagination III Nicolбs Suбrez Eyzaguirre (Bolivia, born 1953) Chica Aruma (1994), for tape Igor de Gandarias (Guatemala, born 1957) La feria fantбstica (1995), for solo tape Cйsar Potes (Colombia, born 1957) Icnocuicatl (1996), for baritone, percussion, ocarina, and tape Josй Halac (Argentina, born 1962) Todo lo que nuestros ojos amaron (1996), for solo tape Mario Lavista (Mexico, born 1943) Missa Brevis ad Consolationis Dominam Nostram (1995), for mixed choir July 14 Mario Lavista (Mexico, born 1943) Responsorio (1988), for bassoon, bass drums and tubular bells Brent Michael Davids (Mohican nation/USA, born 1959) Singing Woods (1994), for string quartet John Corigliano (USA, born 1938) Etude Fantasy (1976), for solo piano Arias From The Ghosts of Versailles (1994) Kaleidoscope (1959), for two pianos String Quartet (1995)
Paulo Alvarado (Guatemala) The Guatemalan Son as Musical Raw Material Jon Appleton (USA) On his Music David Baker (USA) On his Music William Banfield (USA) Extension of the Tradition: Voices from the Camp, a Look and Perspective on Contemporary Music by Black American composers. Willis Barnstone (USA) Composers Knocking Out Poets Beautifully: How Composers Affect Lyricists and How Popular Music Gets Into Cary Boyce (USA) Lyricism in Contemporary Music Peter Burkholder (USA) Charles Ives and The Four Musical Traditions Marнa Isabel Ciudad-Real (Guatemala) The Craft of Music Composition in Guatemala from the 16th to the 20th Century Christopher Cook (USA) On his Music John Corigliano (USA) On his Music Brent Michael Davies (Mohican Nation/ USA) Native American Instruments Thomas Dunn, Jan Harrington (USA) Choral Workshop: The Chorus in Contemporary Music and the Preparation of the Choral Score Lukas Foss (USA) The Development of my Choral Style
Don Freund (USA) Pitfalls at the Crossroads: Technique, Art, and Eclecticism Stephan Freund (USA) Rock in Concert Music Composers Ricardo Gallardo (Mexico) New Latin American Music for Percussion Igor de Gandarias (Guatemala) Four Centuries of Popular Tradition in Academic Latin American Music: Guatemala's Case Glenn Gass (USA) Standing at the Crossroads, Waiting on a Train Mary Goetze (USA) Musical Exchanges: Global Influences and Resulting Issues for the professional musician Jeff Hass (USA) On his Music Lincoln Hanks (USA) The Rhetorical Weight of the Usage of Popular Elements in New Concert Music Diego Herra (Costa Rica) On his Music Raъl Iglesias (Cuba) La erudiciуn en la obra musical cubana y agrocubana de los hermanos Grenet Jeeyoung Kim (Korea/USA) On her Music Andrew Lбzaro (Puerto Rico) Workshop: Afro-Caribbean Music and Instruments Mario Lavista (Mexico) On his Music Neil Leonard (USA)
Collaborative Compositions Teresa LeVelle (USA) Native American Spirituality and music and its Influence on a Child of the Plain Guido Lуpez-Gavilбn (Cuba) Cuban Popular Rhythms Expressed in the Contemporary Music Language Ricardo Lorenz (Venezuela) · Beethoven mit Karibik Sound: Mixing the Unmixable · Music's Vending Machines: Hidden Meanings in a Composer's Alignment with Tradition Anthony de Mare (USA) Workshop on Contemporary Piano Literature Gitanjali Mathur (India) Aspects of Classical Indian Music and Comparisons with Western art music Eugene O'Brien (USA) On his Music Timothy Olsen (USA) Notions and Notation of Freedom in Music: from Simple Ornamentation to Free Improvisation Juan Orrego-Salas (Chile) Crossroads of Traditions: Being or Not Being One's Own Gabriela Ortiz (Mexico) New Music from Latin America Catalina Peralta (Colombia) Electroacoustic and Mixed Works: Between Acoustic and Electroacoustic Ileana Pйrez-Velбzquez (Cuba) On her Music Cйsar Ivбn Potes (Colombia) Formalized Music, Popol Vuh, and
Adolescence in Colombia Christopher Preissing (USA) Intensity: Stable versus Floating Hierarchies Marjorie Rusche (USA) The Development of "She Stoops to Conquer" (Chamber Opera) Marc Satterwhite (USA) Bach, Death, and El Salvador Roberto Sierra (Puerto Rico) On his Music Chris Smith (USA) Teaching Sound[ly]: Approaches to World Music Ron Smith (USA) Tuning Traditions: Musical Aesthetics and Musical Instruments in the Afro-Hispanic Diaspora Karolyn Stonefelt (USA) African Percussion Workshop Nicolбs Suбrez-Eyzaguirre (Bolivia) The Orchestra of Traditional Instruments of Bolivia Raymond Torres-Santos (Puerto Rico) A survey of Puerto Rican Contemporary Music: from Campos Parsi and Aponte Ledee to Sierra and Torres-Santos Eugenio Toussaint (Mexico) A Popular Musician in the World of Concert Music Juan Trigos (Mexico) The Music Materials in the Contemporary Music of the Avant-garde David Vayo (USA) On his Music Ricardo Zohn Muldoon (Mexico) Word Setting: New Findings on Revueltas "Sensemayб"
Our gratitude to all the performers in Crossroads of Traditions: John Amos, Bass Marc Bacon, Trumpet James Bagwell, Conductor Tina Bakowski, Alto, Conductor, Assistant Stage Manager Paul Barnes, Piano Monte Bedford, Oboe David Beem, Cello Brian Berman, Saxophone Phillip Bernstein, Trumpet Marina Berretta, Piano Kirsten Blase, Soprano Rachel Bonk, Soprano Ann Boodt, Dancer Eileen Buerkert, Alto Kathy Bullard, Dancer Laura Bullock, Dancer Chris Campbell, Saxophone Nick Cannizzaro, Percussion Kimberly Carballo, Piano Ann Chang-Barnes, Piano Liz Charman, Dancer Cecilia Cho, Piano Jeanne-Marie Cillier, Soprano Benjamin Coelho, Bassoon Curtis Cook, Bass Marianne Cope, Soprano Pablo Corб, Tenor Jessica Corbin, Alto Juvenal Correa, Organ and Piano
Josй de la Cruz, Percussion Brent Michael Davids, Bass Quartz Flute Alice Day, Soprano Clнona Doris, Harp Monica Duncan, Clarinet Preston Duncan, Saxophone Mark Edenfield, Baritone Josea Eggnik, Flute Eunsil Eom, Soprano Sean Fallen, Tenor Frieda Fan, Violin Carolyn Filak, Soprano Braden Flanagan, Cello Kristin Fogg, Alto Stefan Freund, Cello Kimberly Fuslier, Soprano Ricardo Gallardo, Percussion Patricia Gavinho, Alto Megan Geesaman, Alto Jennifer George, Flute and Ocarina Scott Hale, Tenor Fred Hammond, Piano Jason Haney, Viola Lincoln Hanks, Tenor Mark Hardy, Conductor Rene Harrison, Soprano Mary Hellman, Piano Andrew Hendricks, Baritone Melli Hoppe, Dancer Wanchi Huang, Violin Alex Innecco, Tenor Maria Izzo, Soprano Kyle Johnson, Bass
Christopher Jones, Piano Karen Kamensek, Conductor Christopher Kenniff, Guitar Sujean Kim, Violin Andrew Lбzaro, Percussion Coordinator Erika Leake, Flute Neil Leonard, Saxophone Jing Li, Cello Michael Lim, Violin Robb Lombard, Dancer Stuart Lutzenhiser, Tenor Adam Malson, Viola Anthony de Mare, Piano Angelina Martin, Dancer Marie Mascari, Soprano Claire Mathern, Flute Kevin McCormick, Guitar Orla McDonagh, Piano Paul McGovern, Conductor Joseph McKesson, Tenor Kevin Medows, Bass Mark Menzies, Violin Felicia Miyakawa, Alto Glenn Monserrat, Guitar Molly Morkoski, Piano Andrew Moulton, Baritone Victoria O'Brien, Violin Stacy Ogden, Horn Kathy Oh, Oboe Leonardo Panigada, Bass Karen Paradis, Bassoon Lucнa Patiсo, Alto Robert Patterson, Percussion Debra Paul, Flute
Christina Pier, Alto Yelena Polyanskaya, Piano Alan Portzline, Clarinet Cйsar Potes, Baritone Kenneth Price, Guitar Dawn Reindl, Soprano David Rhyter, Violin Joyce Richard, Cello Susan Rogers, Soprano Nicholas Roth, Piano Nina Ryan, Dancer Christopher Schickedanz, Violin Pam Schraeder, Horn Todd Shehan, Percussion Patricio Silva, Bass Timothy Smith, Tenor Ulises Solano, Tenor Kay Stonefelt, Percussion Chris Swanson, Violin Blythe Teh, Viola Adrienne Todd, Soprano Sally Todd, Piano Kenneth Tse, Saxophone Michael Valerio, Double Bass Lisa van der Ploeg, Mezzo-soprano Rosina Vigilante, Percussion Isaac Watras, Cello Melia Watras, Viola Charles Webb, Piano Matthew Winslow, Bass Ann Yeung, Harp Andrea Yun, Cello Lauren Zachry, Soprano Paulina Zamora, Piano
Scores Paulo Alvarado Variations on "Matatero" for string orchestra · Tres Sones, for cello and piano Luis Eduardo Lucho Bermъdez San Fernando (Porro) Eduardo Bйrtola Retornos do tempo (1991) for two bassoons Modesta Bor Cuatro fugas Josй Land Cбceres Ayapel (Porro) Jorge Campos Lugar de origen for mixed choir and piano Gonzalo Castellanos-Yumar Islas crepusculares (1976) · Cantata for baritone and chamber ensemble · Concerto for viola and orchestra (1993) · Suite sinfуnica Caraqueсa Ricardo Castro Valses mexicanos vol II for piano Sergio Cervetti El triunfo de la muerte · Las indias olvidadas (Concerto for harpsichord and 11 instrs.) · Six sequences for dance Ernesto Cordero Preludio no. 3 · Preludio no. 4 Adriana Cornъ He's got the whole world in his hand arr. · Viola enluarada arr. · A tua presenзaa arr. · Cantos italianos de la montaсaa arr. · September Song (Kurt Weil and Maxwell Anderson) arr. · Rockefeller en el lejano oeste · Rimbombanda I · Rimbombanda II Alfredo Del Mуnaco Tientos del vйsperoa for guitar and orchestra Guillermo Diego Venados for string orchestra · De Selvas, quebradas y gaviotas for guitar · Fantasнa for guitar · Enigma Nayar for flute, oboe, clarinet, cello, double bass, percussion, guitar John Eaton El Divino Narciso for soprano, alto, and chamber ensemble Antonio Estйvez Canciones corales · Cantata Criolla: Florentino, el que cantу con el diablo
Blanca Estrella de Mescoli Suite para piano (1955) · Canciones para niсos (1967) for voice and piano or solo piano Pablo Furman Psalm 8 for SATB choir Orlando Jacinto Garcнa Auschwitz (Nunca se olvidarбn) for orchestra Alfredo Gуmez-Alonso Ensayo no. 4 for solo violin · Ensayo no. 6 for oboe and piano Alberto Guzmбn-Naranjo Aluna Manuel Herrarte Three Piano Dances Will B. Hus Misa de las Indias for alto, tenor, SATB, guitar, percussion, double-bass, piano Mario Lavista Aura parбfrasis orquestal de la уpera · Marsias (1982) for oboe and crystal glasses · Responsorio (1988) for bassoon and percussion Juan Vicente Lecuona String Quartet · Sonata for harp · Works for piano vol I Rodolfo Ledesma Aragуn Metamorfosis for string quartet Dieter Lehnhoff Canto IV for clarinet quartet · Preambulum for chamber orchestra · Tientos for violin, clarinet and cello · Santelmo for solo violin Gustavo Leone Musical studies (1993) for harp or piano Horacio Lуpez de la Rosa Tango para la mano izquierda Op. 52 (1985) · Tango Op 54 (1985) · Dos tangos para piano Op. 44 y 48 · Invenciones Op. 34 for piano · Tempi Op. 25 for piano · Canciones de Altisadora Op. 35 for soprano and piano · Coplas de la paloma Op. 45 · Dos canciones for voice and piano · Dos invenciones Op. 10 for piano · Seis canciones Op. 3 for voice and piano · Tres canciones americanas Op. 15 for voice and piano Juan Carlos Marulanda Lуpez Cuatro abstracciones for brass instruments Jorge Gustavo Mejнa Sixatara for 6 percussions · Los Pobres , for soprano and piano text by Roberto Sosa · Klagegesang y Canto Triste for SATB, wind quintet, 1 percussionist and piano-text from the Central American tradition ·
Los Bailes de Ihnapъ e Ixbalanchй for piano · Estudio para tiempo y espacio for str5 · Hohelied Mottete for SATB -3 motets, text from the Song of Songs Nelly Mele Lara Mнnima suite infantil (1957) for piano · 10 valses venezolanos (1953) for piano Gilberto Mendes Beba Coca Cola from Duas peзas sobre poemas concretos Luis Francisco Mendoza Festival Vallenato Ronaldo Miranda Oriens III · Belo Belo · Borba Gato · Trois moments pour violoncelle seul Moisйs Moleiro Works for piano · Joropo (1971) for piano Mъsicos Venezolanos de la Colonia for SATB and chamber orchestra. Contains works by Josй Francisco Velбzquez, Cayetano Carreсo, and Josй Бngel Lamas. Ivбn Obando Peсa Testamento insular para una tarde cualquiera for mixed choir and electronics Alda Oliveira In memoriam Lindembergue Cardoso (1989) Juan Orrego-Salas Symphony no. 1, Op. 26 · Symphony no. 4, Op. 59 · Concerto for piano and orchestra no. 1, Op. 28 · The Days of God , Op. 73 · Missa: In tempore discordiae, Op. 64 · Midsummer Diversions, Op. 99 · La ciudad celeste Williams Panchi Tin Tom Campanуn musical theatre for voices and orchestra · Fabiolita: Sanjuanito for flute and piano Fabiбn Panisello Intermezzo I (1995) for chamber orchestra · El camino del valle del lobo (1990) for solo violin · Aire (1993) for orchestra· Geim, seance (1990-91) for string quartet Hilda Paredes Ikal for 3 recorders (one player) · Tlapitzalli 3 for three recorder players · Tlapitzalli 2 for flute and percussion Lucнa Patiсo Ejercicio preparatorio for mixed chorus a cappella Catalina Peralta Trio for flute, cello and piano · Monуlogo en la ciudad muerta for flute, double bass, percussion and
tape · Requiem sobre una muerte imaginaria, for flute and live electronics (2 copies) · AtavismosRegresiуn I for saxophone quartet Josй Marнa Ponce de Leуn La mirla blanca (Polka) Cйsar Potes Paths: A celebration for 5 voices, piano, accordion, guitar, cello and percussion, text from the Popol Vuh · Paths: The River for 5 voices, piano, accordion, guitar, cello and percussion, text from the Popol Vuh · Paths: Inside for 5 voices, piano, accordion, guitar, cello and percussion, text by Federico Garcнa Lorca Cergio Prudencio La Ciudad for ensemble of Bolivian folk instruments Lucidio Quintero-Simanca Works for piano Josй Ignacio Quintуn String quartet in D major (1913)
Raymond Torres-Santos Andando de noche sola · Divertimento for wind quintet, parts only · Estampas Criollas no. 1 for guitar Eugenio Toussaint Popol-Vuh for orchestra · El Cambio for string orchestra · Pequeсa pieza para cuarteto de cuerdas · Danzas de la Ciudad for chamber orchestra
Simуn Rincуn, Josefina Benedetti, Juan de Dios Lуpez, Domingo Sбnchez Bor, Gustavo Matamoros Mъsica contemporвnea era o dito popular. Works by Robson Dos Santos Oiseaux tendres. Manuela Wiesler, flute Tepuy. Latin American Folk ensemble
Carlos Vieco Patasdilo (Pasillo) arr. for band
Between Father and Mother Earth. Various performers
Federico Villena Misa en Mi bemol mayor for SATB and orchestra Carlos Vinholes Existencialismo for solo flute Alejandro Wills Tiplecito de mi vida (Torbellino) · El voluntario (Joropo) arr. for band
Alma del Sur . Various performers Mъsica Electroacъstica de Compositores Latinoamericanos. Works by Leуn Biriotti, Josй Augusto Mannis, Carlos Vбzquez, Roberto MoralesManzanares, Pablo Freire, Andrйs Posada, Adina Izarra, Ricardo Dal Farra Publications
Guillermo Rendуn Garcнa Earth for clarinet quartet Agnaldo Ribeiro, et al. Obras para piano with selection of works for piano by 8 composers from Salvador, Bahia Marina Saiz Salazar Piano Sonata Arturo Salinas Stelmni for SATB and handbells · Yoru I and II for organ · Unami for solo flute · Munamukami for solo flute and piano Josй Serebrier Elegy for strings Vicente Emilio Sojo Aguinaldos, Tonadas y Canciones transcribed for guitar by Alirio Dнaz Juan Marнa Solare Trenodia for solo viola · Demeter for string quartet · Ben Oni for flute, clarinet, and violoncello Enrique Solares Sonatina for piano · Partita for strings Josй Eleuterio Suбrez Palo Negro (Bambuco) Nicolбs Suбrez Eyzaguirre Aire solo serнa for saxophone quartet · Tres piezas para coro mixto for SATB, text by Alvaro Diez Astete, Nicomedes Suбrez Arбoz, Nicolбs Suбrez Eyzaguirre · Audina for orchestra · Dibujos sobre el tema de la guitarra for guitar quartet Traditional 20 Canciones Venezolanas for guitar, arr. by Juancho Lucena.
Compact Discs
Curt Lange, Francisco, et al. Seminario sobre a cultura mineira no perнodo colonial. Conselho Estadual de Cultura de Minas Gerais, 1979
Son a Tamayo. With harpist Lidia Tamayo. Works by Arturo Mбrquez, Leticia Cuen, Luis Jorge Gonzбlez, Juan Carlos Areбn, Ana Lara, Bernardo Feldman Manantial. With folk ensemble Tepuy
Tello, Aurelio, ed. Archivo Musical de la Catedral de Oaxaca. Cenidim, Mйxico, 1990 Garland Peter, ed. Soundings #5. Sounding Press. Santa Fe, New Mexico, 1991
No me perdonan. Music by Venezuelan composer Alonso Toro
Tello, Aurelio, transcription and revision. Tesoro de la mъsica polifуnica en Mйxico. Vol III. CENIDIM, Mйxico, 1983
Mexican Colonial Music. Performed by Ars Nova Caribbean Rhythms. With pianist Nohema Fernбndez. Contains works by Ignacio Cervantes, Manuel Saumell and Juan Morel Campos Mъsica de la Catedral de Santafe de Bogotб. Works by Fernбndez Hidalgo, Juan de Herrera, Josй Cascante, Guan de Hidalgo, Juan de Araujo, Alonso Torices Clбsicos Colombianos, Siglo XX (Vol 1-3). Volume I contains works by Guillermo Uribe Holguнn, Josй Rozo Contreras, Adolfo Mejнa, Alejandro Tobar, Fabia Gonzбlez Zuleta, Luis Carlos Figueroa, Jesъs Pinzуn Urrea. Volume II contains works by Luis Antonio Escobar, Raъl Mojica Mesa, Alvaro Ramнrez Sierra, Guillermo Rendуn, Jacqueline Nova. Volume III contains works by Mario Gуmez Vignes, Luis Torres Zuleta, Francisco Zumaque, Sergio Mesa
Boletнn de la Asociaciуn Argentina de Musicologнa, Aсo 10/2. Asociaciуn Argentina de Musicologнa, Cуrdoba, 1995 Boletim, 2 (volume duplo 1984/1985). Sociedade Brasileira de Musicologia, Sгo Paulo, Brazil Revista Mъsica, vol.5 -n. 2 - novembro 1994 Departamento de Mъsica da Escola de Comunicaзхes e Artes da Universidade de Sгo Paulo, Brasil Revista Mъsica, vol. 3 - n. 2 - novembro 1992 Revista Mъsica, vol. 3 - n. 1 - maio 1992 Revista Mъsica, vol. 2 - n. 1 - maio 1991 Ediciones Mexicanas de Mъsica, Historia y Catбlogo. Consuelo Carredano. CENIDIM, Mйxico, 1994 You can also find information about the latest materials received at our
Grupo de Canciones Populares. Nueva Cultura. Various performers.
Con Corda. Luis Gуmez-Ibert, double-bass, Juan Francisco Sans, piano. Works by Juan Francisco Sans, Roberto Cedeсo, Fidel Luis Rodrнguez, Pedro
LA MъsiCa Latin American Music Center School of Music, Indiana University Bloomington IN 47405-2200
(812) 855-2991
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Carmen Tйllez, Editor in Chief Gerardo Diriй, Editor Erick Carballo, Managing Editor Mario Ortiz, Contributor LATIN AMERICAN MUSIC CENTER SCHOOL OF MUSIC INDIANA UNIVERSITY BLOOMINGTON IN 47405-2200 23-426-45

V Rojo, G Galindo, R Doyle, P Hayes, D Dennehy

File: la-msica.pdf
Author: V Rojo, G Galindo, R Doyle, P Hayes, D Dennehy
Author: Latin American Music Center
Subject: Vol.2 No. 2
Published: Wed Feb 11 00:24:22 1998
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Stray dogs, 124 pages, 0.5 Mb

The literacies of science, 12 pages, 0.14 Mb

Refusing battle, 14 pages, 0.4 Mb

Chirurgie der Weichteile, 93 pages, 0.63 Mb

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