Melbourne Conservatorium of Music - Research Publications

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Start date: 1995 × Author: Plesch, Melanie × Type: Journal Article ×

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Now showing 1 - 8 of 8
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    Posludio: Algunas reflexiones sobre los aportes y limitaciones de la teoría tópica desde la perspectiva de la música argentina.
    Plesch, M (Instituto Nacional de Musicología "Carlos Vega", 2020)
    Reflects on the contribution of the theory of musical topics to the study of Latin American art music and focuses on some “grey areas” of the theory that are revealed by the application of topical analysis to the Argentinean case.
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    Decentring Topic Theory: Musical Topics and Rhetorics of Identity in Latin American Art Music
    Plesch, M (Faculdade de Ciencias Sociais e Humanas - Universidade Nova de Lisboa, 2017)
    The article, which functions as an introduction of the dossier of the same name, argues that both mainstream (European) and vernacular topics play equally important roles in the construction of meaning in Latin American art music. It also suggests the existence of Latin American "topics of Europe", i.e., musical configurations that--to Latin Americans--may signify "Europe". Offers a brief critique of the use of "musical nationalism" as a historiographical category when applied to the Latin American case. It suggests that studying the use, function and semantic status of European musical topics and the strategies of their adoption, adaptation and re-signification in Latin American art music is as relevant to our understanding of this music as the use of vernacular topics and the establishment of local topical universes.
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    The Learned Style in Argentine Music: Topic Simultaneity and Rhetorics of Identity in the Work of Carlos Guastavino
    Plesch, M (Universidade Nova de Lisboa, 2017)
    This article examines the interplay of European and Argentine vernacular topics in two works by Carlos Guastavino: ‘Un domingo de mañana’ (A Sunday Morning), a three-part fugue from his Diez preludios for piano (1952) that combines the learned style with the topic of the children’s song, and the fourth movement—‘Fuga y final’—of his Sonata for piano in C sharp minor (1946), whose subject uses the topic of a South American folk dance and song called cueca. The learned style is not only present through the fugal procedure, but also by the use of a specific subtopic, briefly presented here, that connects these works to the Baroque organ tradition and its nineteenth-century reception in piano music. Against the essentialist view that privileges the identification of the so-called “folk idioms” in the study of Latin American art music, the article aims to emphasise the fact that European topics are as important as vernacular ones in the construction of the musical rhetoric of Argentine identity.
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    Teoría, musicología y Antón Pirulero. (Rondó en varias secciones)
    PLESCH, M (Asociación Argentina de Musicología, 2016)
    In light of the numerous reports on the death of theory and the alleged arrival of a post-theoretical era, I review some of the key moments in the history of the debate around the so-called theoretical turn in the humanities, including its reception by musicology. I examine the body of scholarly literature that thematizes the idea of an “after theory”–whether to celebrate or resist it–and identify five recurring warnings proceeding from both the critical voices raised against theory and theory’s own self criticism. Against this background, I propose a reflection on our engagement with theory in the everyday practice of the discipline. I use the nursery rhyme Antón Pirulero as a ritornello to frame the different “episodes” through which the text perambulates. Even though it might seem so, this choice is neither casual nor flippant. The history of the Antón Pirulero in Hispanic-American culture from the 17th century onwards, which I explore towards the end, provides the key to the criticism put forward in the article.
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    Topics of Spanishness in Tango Scenes. A Postcolonial Reading of Mainstream Film
    PLESCH, M (Center for Iberian and Latin American Music, 2013)
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    De mozas donosas y gauchos matreros. Música, género y nación en la obra temprana de Alberto Ginastera
    PLESCH, M (Universidad Nacional de Cuyo, 2002)
    Spanish: A pesar de haber sido considerada tradicionalmente como la más "abstracta" y "autónoma" de todas las artes, la música participa activamente en la construcción, propagación y perpetuación de estereotipos de género y nacionalidad, condicionando nuestra percepción de lo femenino y lo masculino y nuestro sentido de pertenencia o alteridad respecto de una cultura determinada l. El objeto de este trabajo es explorar esta problemática a partir del análisis de una obra en la que se articulan significativamente las construcciones de género y nacionalidad, las Tres danzas argentinas de Alberto Ginastera (1916-1983). English: Despite being traditionally considered the most "abstract" and "autonomous" of all the arts, music actively participates in the construction, propagation and perpetuation of gender and national stereotypes, conditioning our perception of the feminine and the masculine and our sense of belonging or otherness regarding a certain culture. The objective of this work is to explore this problem from the analysis of a work in which the constructions of gender and nationality are significantly articulated, the Three Argentine Dances by Alberto Ginastera (1916-1983).
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