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- Genre: Art--Ownership.
- Genre: Music--Peru--History and criticism.
- Creators: Arizona State University
- Status: Published
Description
Due to the recent inclusion of a semi-regular "News from Latin America" column since 2007 in The Clarinet magazine and an increased emphasis on world music genre performances at the International Clarinet Association's annual ClarinetFest, Latin American clarinet compositions have become increasingly popular. Consequently, Latin American performers and composers are receiving more attention and recognition than ever before. The contemporary repertoire for clarinet increasingly includes works highlighted at the ClarinetFest international festivals, and many clarinetists express interest in finding new Latin American compositions. In order to supplement this growing Latin American repertoire and to introduce the life and works of Peruvian composer Armando Guevara Ochoa (1926-2013), this project presents a brief biography of the composer, a discussion of his musical style, and new editions of his popular works transcribed for clarinet. A recording of these works is included in an appendix to this document. Prior to this research, much of the scholarship written about Guevara Ochoa was in Spanish. While most sources and scholars relate that Guevara Ochoa composed over 400 works, the whereabouts of fewer than 200 are currently known. This project will supplement Guevara Ochoa's clarinet literature and raise awareness of his compositions in English-speaking countries.
ContributorsPalmer, Katherine H (Author) / Spring, Robert (Thesis advisor) / Micklich, Albie (Committee member) / Norton, Kay (Committee member) / Solís, Ted (Committee member) / Hill, Gary (Committee member) / Arizona State University (Publisher)
Created2013
Description
During the Nazi era, which is historically regarded as lasting from 1933-1945, the National Socialists both looted and made “legal” confiscations of art and artifacts they deemed “degenerate” from museums throughout occupied Europe. The art they seized was sold abroad in exchange for foreign currency that not only funded their war efforts, but also allowed for purchases of art for Hitler’s un-realized Führermuseum in Linz, Austria. The rapid transfer of objects flooded the art market, making this period one of the most prosperous times for collectors and dealers. However, due to the overall hasty nature of the displacements, the ownership history, or provenance, of the works became extremely convoluted. Institutions in the United States, as well as individual collectors, began to buy pieces, unaware of their provenance. Without this knowledge as a good-faith purchaser, many institutions never delved deeper into the background of the objects and the works remained in their collections until the present day. In this thesis, I argue that provenance research can shape a museum’s history through changing the relationship it has with its permanent collection. Insight into the ownership history of the collection must be made a priority in order for museums to remain transparent with their visitors, thus allowing for perceived notions of exclusivity, or distrust, to be eliminated. I researched two institutions, the Kunstmuseum Bern and the Krannert Art Museum, which recently examined their own holdings for incomplete attributions, with one establishment conducting a study after it became enmeshed in public scrutiny generated by a controversial bequest. Lastly, I employ both art historical scholarship and legal resources to investigate how provenance can be more widely used as a valuable asset in an increasingly globalized society.
ContributorsSmiley, Meghan (Author) / Fahlman, Betsy (Thesis advisor) / Codell, Julie (Committee member) / Afanador-Pujol, Angélica (Committee member) / Arizona State University (Publisher)
Created2019