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Combining traditional source and modern technique in musical composition has become one of the major trends in the contemporary music development. William Bolcom (1938- ) is an important composer in the 20th century, who followed this trend to compose the two-piano work Recuerdos ¡V Three Traditional Latin-American Dances for Two Pianos (1991). Inspired by characteristics of traditional Latin American dance, Bolcom employed the elements of the Latin American music as the structural foundation. In each of the three movements, Bolcom has tried to recall the stylistic features of the folk music in Brazil, Argentina, and Venezuela, as well as musical languages of Ernesto Nazareth (1863-1934), Louis Moreau Gottschalk (1829-1869), Ramón Delgado Palacios (1863-1902). Bolcom uses a lot of Latin America music materials in Recuerdos, and also applied contemporary compositional technique to this work, such as polytonality, serialism, collage, etc. Chapter One in this paper will introduce Bolcom¡¦s life background and musical composition experience, and the special characteristics of his five two-piano works. Chapter Two contains the historical background of Recuerdos, mainly discussing musical styles of three countries and three composers which Bolcom wanted to evoke in this composition. Chapter Three includes the compositional manners of Choro, Paseo, and Valse Venezolano, and researches how Bolcom intergrating diverse musical materials and still creating the unity among three movements.

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2006. / Source: Dissertation Abstracts International, Volume: 67-07, Section: A, page: 2599. Adviser: Dara Goldman. Includes bibliographical references (leaves 140-147) Available on microfilm from Pro Quest Information and Learning.

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Very few Latin American pieces for trombone as a solo instrument have entered the canon of trombone repertoire worldwide, despite the large number of compositions in this medium. Therefore, when a major composer writes a full sonata for trombone efforts need to be made to bring these compositions to light. The Argentine composer Carlos Guastavino wrote a sonata for trombone and piano that is virtually unknown outside of Argentina, despite the composer’s importance. He is known for his artistic choice of cultivating a traditional romantic style of composition apart from the new tendencies and influences of the artistic novelties of the twentieth century. Guastavino’s artistic position is very clear in the sonata’s highly strict formal organization and Guastavino’s unique treatment of tonality and modality. He was also loyal to his own style as composer, which is ultimately an Argentine song style. He utilized the lyrical qualities of the trombone to convey the type of melodic approach that he used in his vocal works. This paper investigates the Argentine song and Western sonata conventions featured on Carlos Guastavino’s Sonata para Trombón o Trompa y Piano. The paper argues that these features represent his unique approach to musical composition in the twentieth century, thus making this sonata an important addition to the trombone repertoire.

In this bibliography an attempt has been made to furnish references to teachers that may assist them to develop in the students: (1) an attitude of friendly interest which will help to link the Americas in mutual respect and to promote a better understanding of problems to be met; (2) to gain an understanding and appreciation of the background of South American culture of today; (3) to become familiar with the folk music as well as the concert, both vocal and instrumental.

Thesis--Indiana University, 2006. / Computer printout. "While the present study will focus specifically on the evolution of tonality in Ginastera's compositional style, I begin by surveying the small body of general scholarship pertinent to Ginastera, starting with his own published comments. This critical survey serves two purposes: it provides a general overview of the scholarship to date regarding Ginastera; and it demonstrates the shortcomings of that scholarship in relation to the study of tonality's evolution in Ginastera's music--hence the rationale for the present study."--Leaves 1-2. Includes bibliographical references (leaves 269-284), abstract, and vita.

abstract: 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. / Dissertation/Thesis / D.M.A. Music 2011

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