Panamericanism in Music

Intertextuality, Narrativity and Tradition: 8 Brazilian Piano Sonatas

“…The two women already inclined towards all things dodecaphonic, profited from their contacts with artists such as Nono, Maderna, not to mention their opportunity to study with conductor Scherchen, Koellreutter's former mentor. Guerra-Peixe, consciously avoiding being attracted to Villa-Lobos orbit 14 , moved far away from his native state, Rio de Janeiro. He found work at a radio station in the Brazilian Northeast, settled at the city of Recife and shortly after immersed himself into the study of local folklore.…”

“…On the Soviet side of the world, Prokofiev's War Sonatas were given prominence, most of all his Bb Piano Seventh Sonata (1939-42) dubbed as the Stalingrad Sonata. Prokofiev's music was written not only in accordance with the directives proclaimed by the socialist regime but it may in fact have inspired the 14 Faria, Antonio Guerreiro de. 2000.…”

“…The repeated climbing fourths not only infuse the initial presentation of CS 3 [mm. [1][2][3][4][5][6][7][8][9][10][11][12][13][14][15][16][17], not seen in the next example] of the theme complex; it also dominates the entire movement. Throughout CS 3, the most monomotivic of all Sonatas here discussed, sections are delineated by changes in texture and mood rather than musical material.…”

“…8), CS 4 [mm. [1][2][3][4][5][6][7][8][9][10][11][12][13][14][15][16] is also based on the repetition of motifs and it too presents sixteenth note figurations in unison two octaves apart and placed at the lower to mid-range of the keyboard. The angularity of the intervals and the insistence on the repetitions are, nevertheless, more pressing in CS 3 and less so at CS 4.…”

Contemporary “Latin American” Composers of Art Music in the United States: Cosmopolitans Navigating Multiculturalism and Universalism

“…The Music Division premiered hundreds of works by Latin American composers at music festivals held in Washington, D.C. The Music Division's publications are arguably the fi rst scholarly treatments in the United States (Chase [1945(Chase [ ] 1962Haskins 1957;de la Vega 1980a: 173-74;Oja 2000: 279). 6 It was not until the 1960s that attitudes in the United States toward Latin American art music began improving to begin fostering a "rewarding and healthy" interchange among composers in the United States and Latin America (de la Vega 1980a).…”