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- Genre: Interactive multimedia--Philosophy.
- Genre: Music--Latin America--History and criticism.
- Creators: Arizona State University
Description
During the twentieth-century, the dual influence of nationalism and modernism in the eclectic music from Latin America promoted an idiosyncratic style which naturally combined traditional themes, popular genres and secular music. The saxophone, commonly used as a popular instrument, started to develop a prominent role in Latin American classical music beginning in 1970. The lack of exposure and distribution of the Latin American repertoire has created a general perception that composers are not interested in the instrument, and that Latin American repertoire for classical saxophone is minimal. However, there are more than 1100 works originally written for saxophone in the region, and the amount continues to grow. This Modern Latin American Repertoire for Classical Saxophone: Recording Project and Performance Guide document establishes and exhibits seven works by seven representative Latin American composers.The recording includes works by Carlos Gonzalo Guzman (Colombia), Ricardo Tacuchian (Brazil), Roque Cordero (Panama), Luis Naón (Argentina), Andrés Alén-Rodriguez (Cuba), Alejandro César Morales (Mexico) and Jose-Luis Maúrtua (Peru), featuring a range of works for solo alto saxophone to alto saxophone with piano, alto saxophone with vibraphone, and tenor saxophone with electronic tape; thus forming an important selection of Latin American repertoire. Complete recorded performances of all seven pieces are supplemented by biographical, historical, and performance practice suggestions. The result is a written and audio guide to some of the most important pieces composed for classical saxophone in Latin America, with an emphasis on fostering interest in, and research into, composers who have contributed in the development and creation of the instrument in Latin America.
ContributorsOcampo Cardona, Javier Andrés (Author) / McAllister, Timothy (Thesis advisor) / Spring, Robert (Committee member) / Hill, Gary (Committee member) / Pilafian, Sam (Committee member) / Rogers, Rodney (Committee member) / Gardner, Joshua (Committee member) / Arizona State University (Publisher)
Created2011
Description
Wittgenstein’s claim: anytime something is seen, it is necessarily seen as something, forms the philosophical foundation of this research. I synthesize theories and philosophies from Simondon, Maturana, Varela, Wittgenstein, Pye, Sennett, and Reddy in a research process I identify as a paradigm construction project. My personal studio practice of inventing experiential media systems is a key part of this research and illustrates, with practical examples, my philosophical arguments from a range of points of observation. I see media systems as technical objects, and see technical objects as structurally determined systems, in which the structure of the system determines its organization. I identify making, the process of determining structure, as a form of structural coupling and see structural coupling as a means of knowing material. I introduce my theory of conceptual plurifunctionality as an extension to Simondon’s theory. Aspects of materiality are presented as a means of seeing material and immaterial systems, including cultural systems. I seek to answer the questions: How is structure seen as determining the organization of systems, and making seen as a process in which the resulting structures of technical objects and the maker are co-determined? How might an understanding of structure and organization be applied to the invention of contemporary experiential media systems?
ContributorsLahey, Byron (Author) / Burleson, Winslow (Thesis advisor) / Xin Wei, Sha (Committee member) / Collins, Daniel (Committee member) / Paine, Garth (Committee member) / Arizona State University (Publisher)
Created2015