Hostname: page-component-cd9895bd7-p9bg8 Total loading time: 0 Render date: 2024-12-26T20:09:17.342Z Has data issue: false hasContentIssue false
  • English
  • Français

Electroacoustic Music At CLAEM: A Pioneer Studio in Latin America

Published online by Cambridge University Press:  05 April 2018

EDUARDO HERRERA
Get access Rights & Permissions [Opens in a new window]

Abstract

During the 1950s and ’60s, many composers began exploring the possibilities provided by commercially available magnetic tape recording and electronically produced sound. In Latin America, the most successful early electroacoustic studio was hosted at the Centro Latinoamericano de Altos Estudios Musicales (CLAEM), part of the Torcuato Di Tella Institute in Buenos Aires, Argentina. This article chronicles the eight years of existence of CLAEM's Laboratorio de música electrónica (1964–1971), and its role in the training of composers hailing from Argentina, Bolivia, Brazil, Colombia, Costa Rica, Chile, Ecuador, Guatemala, Mexico, Peru, Puerto Rico, Uruguay, and the United States. This historical account of pioneering Latin American electroacoustic music provides insight into the aesthetic and technical developments that earned the laboratory at CLAEM a place in the regional and transnational world of contemporary music making and demonstrates the crucial role of locality in the adoption, consumption, and rearticulation of international musical models.

Type
Research Article
Information
Journal of the Society for American Music , Volume 12 , Issue 2 , May 2018 , pp. 179 - 212
Copyright
Copyright © The Society for American Music 2018 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

References

Archival Sources

[Unprocessed collection] Aharonián-Paraskevaídis Private Archive. Personal Collection. Montevideo, Uruguay.Google Scholar
CLAEM Archives [Unprocessed collection, 38 boxes]. Archivos Centros de Arte, Instituto Torcuato Di Tella. Universidad Torcuato Di Tella. Buenos Aires, Argentina.Google Scholar
Rockefeller Foundation Records, Projects, RG 1.2. Rockefeller Foundation Archives. Rockefeller Archive Center. New York, NY.Google Scholar

Books and Articles

Aharonián, Coriún. “La música, la tecnología y nosotros los latinoamericanos.” In Hacer música en América Latina, 105–27. 1977, 1992. Rev. ed. Montevideo: Tacuabé, 2012.Google Scholar
Aharonián, Coriún. “El Padre De Catalina: Interview with Fernando von Reichenbach.” In Marcha [ Montevideo], February 19, 1971, 29.Google Scholar
Amenábar, Juan, and Asuar, José Vicente. “Proyecto de montaje de un Laboratorio Electrónico Musical.” Revista Musical Chilena 60, no. 12 (July–August, 1958): 150–54.Google Scholar
Appleton, Jon H., and Perera, Ronald. The Development and Practice of Electronic Music. Englewood Cliffs, NJ: Prentice-Hall, 1975.Google Scholar
Battier, Marc. “What the GRM Brought to Music: From Musique Concrète to Acousmatic Music.” Organised Sound 12, no. 3 (2007): 189–202.CrossRefGoogle Scholar
Becker, Howard Saul. Art Worlds. Berkeley: University of California Press, 1982.Google Scholar
Bernstein, David W., ed. The San Francisco Tape Music Center: 1960s Counterculture and the Avant-Garde. Berkeley: University of California Press, 2008.Google Scholar
Buch, Esteban. “L'avant-garde musicale à Buenos Aires: Paz contra Ginastera.” Circuit: Musiques Contemporaines 17, no. 2 (2007): 11–34.CrossRefGoogle Scholar
Buch, Esteban. The Bomarzo Affair: Ópera, perversión y dictadura. Cordoba, Argentina: Grafinor, 2003.Google Scholar
Castro, Cecilia. “Fernando von Reichenbach (1931–2005).” In Umbrales: espacios del sonido, edited by Alsina, Mercedes Savasta, 42–47. Buenos Aires: Centro Cultural Recoleta, 2016.Google Scholar
Chadabe, Joel. Electric Sound: The Past and Promise of Electronic Music. Upper Saddle River, NJ: Prentice-Hall, 1997.Google Scholar
Claro Valdés, Samuel. “Panorama de la música experimental en Chile.” Revista Musical Chilena 17, no. 83 (1963): 111–18.Google Scholar
Corrado, Omar. Vanguardias al Sur: La música de Juan Carlos Paz. Havana: Fondo Editorial Casa de las Américas, 2010.Google Scholar
Corrado, Omar. Música y modernidad en Buenos Aires (1920–1940). Buenos Aires: Gourmet Musical Ediciones, 2010.Google Scholar
Dal Farra, Ricardo. “Un voyage du son par les fils électroacoustiques: L'art et les nouvelles technologies en Amérique latine.” PhD diss., University of Québec in Montreal, 2006.Google Scholar
Dal Farra, Ricardo. “El archivo de música electroacústica de compositores latinoamericanos.” Fondation Daniel Langlois, 2004a. http://www.fondation-langlois.org/pdf/e/Dal_Farra_ES.pdf.Google Scholar
Dal Farra, Ricardo. “Latin American Electroacoustic Music Collection: Music here . . . music there.” Fondation Daniel Langlois, 2004b, http://www.fondation-langlois.org/html/e/page.php?NumPage=546.Google Scholar
Davies, Hugh. Répertoire International des Musiques Electroacoustiques-International Electronic Music Catalog. Cambridge, MA: MIT Press, 1968.Google Scholar
Doornbusch, Paul. “A Chronology of Computer Music and Related Events.” In The Oxford Handbook of Computer Music, edited by Dean, Roger T., 557–84. New York: Oxford University Press, 2009.Google Scholar
Ernst, David. The Evolution of Electronic Music. New York: Schirmer Books, 1977.Google Scholar
García Belsunce, Eduardo. “De música contemporánea.” Buenos Aires Musical, August 16, 1962, p. 1.Google Scholar
Giunta, Andrea. Avant-Garde, Internationalism, and Politics: Argentine Art in the Sixties. Durham, NC: Duke University Press, 2007.Google Scholar
Gluck, Robert. “The Columbia-Princeton Electronic Music Center: Educating International Composers.” Computer Music Journal 31, no. 2 (2007): 20–38.CrossRefGoogle Scholar
Gluck, Robert. “Interview with Mario Davidovsky.” 2005. http://emfinstitute.emf.org/articles/gluck.davidovsky_05.html.Google Scholar
Herrera, Eduardo. “‘That's Not Something to Show in a Concert’: Experimentation and Legitimacy at the Centro Latinoamericano de Altos Estudios Musicales.” In Experimentalisms in Practice. Music Perspectives from Latin America, edited by Minutti, Ana Alonso, Herrera, Eduardo, and Madrid, Alejandro, 21–48. New York: Oxford University Press, 2018.Google Scholar
Herrera, Eduardo. “Iannis Xenakis en Argentina: recepción, diálogos e intercambios.” Proceedings for the Sixth UFRJ International Symposium on Musicology & International Colloquium Ibero-American Institute/University of Arts (UdK), Berlin “Cultural Exchanges: Music Between Latin America and Europe.” Rio de Janeiro, August 10–15, 2015.Google Scholar
Herrera, Eduardo. “The CLAEM and the Construction of Elite Art Worlds: Philanthropy, Latin Americanism and Avant-Garde Music.” PhD diss., University of Illinois at Urbana–Champaign, 2013.Google Scholar
Holmes, Thom, and Pender, Terence M.. Electronic and Experimental Music: Technology, Music, and Culture. 4th ed. New York: Routledge, 2012.CrossRefGoogle Scholar
Humpert, Hans Ulrich. Elektronische Musik: Geschichte, Technik, Kompositionen. Mainz: Schott Verlag, 1987.Google Scholar
King, John. El Di Tella y el desarrollo cultural argentino en la década del sesenta 2nd ed. Buenos Aires: Asunto Impreso, 2007.Google Scholar
Loubet, Emmanuelle. “The Beginnings of Electronic Music in Japan, with a Focus on the NHK Studio: The 1950s and 1960s.” Computer Music Journal 21, no. 4 (1997): 11–22.CrossRefGoogle Scholar
Manning, Peter. Electronic and Computer Music. New York: Oxford University Press, 2004.CrossRefGoogle Scholar
Minsburg, Raul. “Apuntes para una historia de la música electroacústica argentina.” n.d. http://www.scribd.com/doc/45549624/Apuntes-para-una-Historia-de-la-Electroacustica-Argentina.Google Scholar
Mumma, Gordon. Cybersonic Arts: Adventures in American New Music. Urbana: University of Illinois Press, 2015.Google Scholar
Mumma, Gordon. “Live Electronic Music.” In The Development and Practice of Electronic Music, edited by Appleton, Jon H. and Perera, Ronald, 286–335. Englewood Cliffs, NJ: Prentice-Hall, 1975.Google Scholar
Novoa, Laura. “Cuando el futuro sonaba eléctrico.” In La música en el Di Tella: Resonancias de la modernidad, edited by de Dios, José Luis Castiñeira, 22–29. Buenos Aires: Secretaría de Cultura de la Presidencia de la Nación, 2011.Google Scholar
Novoa, Laura. “Proyecto de renovación estética en el campo musical argentino y latinoamericano durante la década del sesenta: el Centro Latinoamericano de Altos Estudios Musicales (CLAEM). Avances de una investigación en curso.” Revista Argentina de Musicología 8 (2007): 69–87.Google Scholar
Orobitg, Ignacio, Subieta, Adolfo, Uslenghi, Federico, and Wiman, Federico. “El desarrollo de la música electroacústica en Buenos Aires.” Revista del Instituto de Investigación Musicológica Carlos Vega 18 (2004): 81–126.Google Scholar
Prieberg, Fred. Versuch einer Bilanz der elektronischen Musik. Freudenstadt: Rohrdorfor, 1980.Google Scholar
Reichenbach, Fernando von. “The Sound Level Photoprogrammer.” Electronic Music Review 4 (1967): 35–36.Google Scholar
Rocha Iturbide, Manuel. “The First Retrospective of Mexican Electroacoustic Music.” ArteSonoro.net. n.d. http://www.artesonoro.net/articulos/Electroacusticinmexico.pdf.Google Scholar
Schumacher, Federico. Historia de la música electroacústica en Chile. Santiago de Chile: n.p., 2005.Google Scholar
Small, Christopher. Musicking: The Meanings of Performing and Listening. Middletown, CT: Wesleyan University Press, 1998.Google Scholar
Vázquez, Hernan Gabriel, ed. Conversaciones en torno al CLAEM: Entrevistas a compositores becarios del Centro Latinoamericanos de Altos Estudios Musicales del Instituto Torcuato Di Tella. Buenos Aires: Instituto Nacional de Musicología “Carlos Vega,” 2015.Google Scholar
Vázquez, Hernán Gabriel. “Apéndice documental: Concursos de becarios, docentes, visitantes internacionales y conciertos.” In La música en el Di Tella: Resonancias de la modernidad, edited by de Dios, José Luis Castiñeira, 76–140. Buenos Aires: Secretaría de Cultura de la Presidencia de la Nación, 2011.Google Scholar
Vázquez, Hernán Gabriel. “Música de jóvenes compositors de América: La actividad del Centro Latinoamericano de Altos Estudios Musicales del Instituto Torcuato Di Tella de 1961 a 1966 y su representación en la prensa.” MM thesis, Universidad Nacional de Cuyo, 2008.Google Scholar