Heitor Villa-Lobos in Buenos Aires during the 1920s

modernism, reception and musical field

Authors

  • Silvina Luz Mansilla Argentine Catholic University

DOI:

https://doi.org/10.35699/2317-6377.2007.55089

Keywords:

Villa-Lobos, Buenos Aires, musical reception, modernism, musical scene, concert life

Abstract

This study explores the significance of Heitor Villa-Lobos´s first visit to Buenos Aires in 1925, following an invitation from the Asociación Wagneriana and the Sociedad Cultural de Conciertos. The paper discusses the reaction to his work among specialized music critics and the impact it made on the local music scene. Opinions were positive in some instances but reserved or noncommittal in others. The author concludes that the critics were disregarding the changing ground in music where a break between tradition and modernity in Argentina would happen not too long afterwards.

Author Biography

  • Silvina Luz Mansilla, Argentine Catholic University

    Silvina Luz Mansilla (1962) holds a PhD in Arts from the Faculty of Philosophy and Letters at the University of Buenos Aires, with a thesis dedicated to the circulation, reception, and mediations in the musical works of Carlos Guastavino. She is a graduate and Higher Music Teacher, specializing in Musicology from the Argentine Catholic University. She also trained as a Piano Teacher at the National Conservatory of Music "Carlos López Buchardo." Currently, she is a research faculty member with special dedication at the Faculty of Arts and Musical Sciences of the Argentine Catholic University and Head of Practical Work in the "Latin American and Argentine Music" course at the University of Buenos Aires. She is the author of numerous articles on 20th-century Argentine academic music, supervises theses and scholarship holders, is a tutor for the UBACyT F-831 team dedicated to the study of music in the Argentine press, and is a member of the Oversight Board of the Argentine Association of Musicology.

References

ANDRADE, Mário de. Música del Brasil, Buenos Aires, Schapire, 1944.

ARIZAGA, Rodolfo. Enciclopedia de la música argentina, Buenos Aires, Fondo Nacional de las Artes, 1971.

BOURDIEU, Pierre. “Campo intelectual y proyecto creador”, Poullion, J. Problemas del estructuralismo, México, siglo XXI, 1967.

______ , Sociología y Cultura, México, Grijalbo, 1990.

______ , Creencia artística y bienes simbólicos. Elementos para una sociología de la cultura, (Trad. y pról.: A. Gutiérrez), Córdoba- Buenos Aires, Grupo editorial aurelia*rivera, 2003.

CAAMAÑO, Roberto. Historia del Teatro Colón, Buenos Aires, Cinetea, 1969, 3 vols.

GARCÍA MUÑOZ, Carmen. Julián Aguirre, Buenos Aires, Ediciones Culturales Argentinas, 1971.

______ , “Materiales para una historia de la música argentina. La actividad de la Sociedad Nacional de Música entre 1915 y 1930”, Revista del Instituto de Investigación Musicológica ‘Carlos Vega’, año IX nº 9. Buenos Aires, UCA, 1988, p.149-194.

______ , “López Buchardo. 1. Carlos”, Diccionario de la Música Española e Hispanoamericana, Madrid, SGAE, vol 6, 2000, p.1004-1006.

GARCÍA MUÑOZ, Carmen y Ana María MONDOLO, “André, José”, Diccionario de la Música Española e Hispanoamericana, Madrid, SGAE, vol 1, 1999, p.451-453.

GARRAMUÑO, Florencia. “¿Para qué comparar? Tango y samba y el fin de los estudios comparatistas y de área”, Prismas, revista de historia intelectual, nº 8. Buenos Aires, 2004, p.151-162.

ISER, Wolfgang. El acto de leer. Teoría del efecto estético, Madrid, Taurus, 1987.

JAUSS, Hans-Robert. Towards an Aesthetic of Reception, Brighton, Harvester Press, 1982.

MANSILLA, Silvina Luz. “La Asociación Wagneriana de Buenos Aires: instancia de legitimación y consagración musical en la década de 1912-1921”, Revista del Instituto de Investigación Musicológica ‘Carlos Vega’, nº 18, Buenos Aires, EDUCA, 2004, p.19-37.

______ “El nacionalismo musical en Buenos Aires durante los días de Marcelo Torcuato de Alvear. Un análisis sociocultural sobre sus representantes, obras e instituciones”, Leiva, Alberto David (coord.), Los días de Alvear. Tomo 1. San Isidro (Buenos Aires), Academia Provincial de Ciencias y Letras, 2006, p. 313-344.

MICELI, Sergio. “La vanguardia argentina en la década de 1920, notas sociológicas para un análisis comparado con el Brasil modernista”, Prismas, revista de historia intelectual, nº 8, Buenos Aires, 2004, p.163-174.

MONDOLO, Ana María. “Catálogo clasificado de la obra de Celestino Piaggio”, Revista del Instituto de Investigación Musicológica ‘Carlos Vega’, año IX nº 9, Buenos Aires, UCA, 1988, p.79-94.

SAAVEDRA, Leonora. Of Selves and Others: Historiography, Ideology, and the politics of Modern Mexican Music. Tesis doctoral, University of Pittsburgh, 2001.

SCARABINO, Guillermo. El Grupo Renovación (1929-1944) y la “nueva música” en la Argentina del siglo XX, Buenos Aires, Instituto de Investigación Musicológica “Carlos Vega” (UCA), Cuaderno de Estudios nº 3, 2000.

STORNI, Eduardo. Villa Lobos, Madrid, Espasa-Calpe, 1988.

TORGOVNIK, Marianna. Defining the Primitive / Reimagining Modernity, Gone Primitive: Savage Intellects, Modern Lives. Chicago y Londres: University of Chicago Press, 1990, p.3-41.

VALENTI FERRI, Enzo. Cien años de música en Buenos Aires, de 1890 a nuestros días, Buenos Aires, Gagliannone, 1992.

WILLIAMS, Alberto. “Historia y biografía. Héctor Villa-Lobos”, La Quena, Revista mensual del Conservatorio de Música de Buenos Aires y sus 107 sucursales, Buenos Aires, año VI, nº 24, junio-julio 1925, p.3-7.

WISNIK, José Miguel, O coro dos contrários. A música em torno da semana de 22, Sao Paulo, Duas Cidades, 1977.

WRIGHT, Simon, Villa-Lobos, Oxford-New York, Oxford University Press, 1992.

Downloads

Published

2007-07-01

Issue

No. 16 (2007): General Topics

Section

Articles in Portuguese/Spanish

License

Copyright (c) 2007 Per Musi

Creative Commons License

This work is licensed under a Creative Commons Attribution 4.0 International License.

Licença Creative Commons
Except where otherwise noted, contents on this site are licensed under a  Creative Commons - Atribuição 4.0 Internacional.

How to Cite

“Heitor Villa-Lobos in Buenos Aires During the 1920s: Modernism, Reception and Musical Field”. 2007. Per Musi, no. 16 (July): 42-53. https://doi.org/10.35699/2317-6377.2007.55089.