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Now that the audience is assembled by David Grubbs (review)

Now that the audience is assembled by David Grubbs (review) 392 American Music, Fall 2019 way to the book via an interest in the music of tango bandoneonist, bandleader, and composer Astor Piazzolla (1921–92), who is by far the most well-known tango figure among general listening audiences today, at least in the United States and Europe. Piazzolla figures prominently here, and the chapter dedicated to him is a great place to start for those who want to know more about his artistic life and, especially, the details of his tremendously compelling compositional style. At the same time, the book does well situating Piazzolla within what was a much larger milieu of tango experimentation during what the authors call the “post–golden age” period of tango (1955–90). For example, several chapters are dedicated to Piazzolla’s peers and contemporaries, including Horacio Salgán, Julián Plaza (1928–2003), and Leopoldo Federico (1927–2014), all of whom are canonical figures among dedicated tango audiences but largely unknown outside of those circles. The book also shows that tango continues to be an important and compelling zone of artistic practice today, profiling three contemporary figures and showing how their music both draws upon but also departs from the work of their historical predecessors. The focus here is almost exclusively http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png American Music University of Illinois Press

Now that the audience is assembled by David Grubbs (review)

American Music , Volume 37 (3) – Nov 11, 2019

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Publisher
University of Illinois Press
ISSN
1945-2349

Abstract

392 American Music, Fall 2019 way to the book via an interest in the music of tango bandoneonist, bandleader, and composer Astor Piazzolla (1921–92), who is by far the most well-known tango figure among general listening audiences today, at least in the United States and Europe. Piazzolla figures prominently here, and the chapter dedicated to him is a great place to start for those who want to know more about his artistic life and, especially, the details of his tremendously compelling compositional style. At the same time, the book does well situating Piazzolla within what was a much larger milieu of tango experimentation during what the authors call the “post–golden age” period of tango (1955–90). For example, several chapters are dedicated to Piazzolla’s peers and contemporaries, including Horacio Salgán, Julián Plaza (1928–2003), and Leopoldo Federico (1927–2014), all of whom are canonical figures among dedicated tango audiences but largely unknown outside of those circles. The book also shows that tango continues to be an important and compelling zone of artistic practice today, profiling three contemporary figures and showing how their music both draws upon but also departs from the work of their historical predecessors. The focus here is almost exclusively

Journal

American MusicUniversity of Illinois Press

Published: Nov 11, 2019

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