
{"id":138,"date":"2016-02-28T10:00:43","date_gmt":"2016-02-28T10:00:43","guid":{"rendered":"http:\/\/blogs.plymouth.ac.uk\/artsinstitute\/?p=138"},"modified":"2016-02-25T17:10:31","modified_gmt":"2016-02-25T17:10:31","slug":"music-research-seminar-on-astor-piazzollas-tango-for-solo-flute-2-march-2016","status":"publish","type":"post","link":"https:\/\/blogs.plymouth.ac.uk\/artsinstitute\/2016\/02\/28\/music-research-seminar-on-astor-piazzollas-tango-for-solo-flute-2-march-2016\/","title":{"rendered":"Music Research Seminar on Astor Piazzolla&#8217;s tango for solo flute: 2 March 2016"},"content":{"rendered":"<p class=\"x_MsoNormal\">You are welcome to attend the next MUSIC RESEARCH SEMINAR<\/p>\n<p class=\"x_MsoNormal\">on Wednesday, 2 March 2016 at 2 pm in Rolle 015, Plymouth University:<\/p>\n<p class=\"x_MsoNormal\"><b>\u2018I didn\u2019t quite catch your accent\u2019: A recording analysis of accentuation in Astor Piazzolla\u2019s Etude 6 for Solo Flute (1987) for a fresh approach to tango performance\u2019<\/b><\/p>\n<p class=\"x_MsoNormal\">by\u00a0<a href=\"http:\/\/jqflute.com\/\" target=\"_blank\">Dr. Jessica Qui\u00f1ones<\/a><\/p>\n<p class=\"x_MsoNormal\">Despite the fact that Argentinean composer Astor Piazzolla (1921-1992) chose to use a rather normative form of accent notation within his published tango music, the language surrounding tango performance seems to indicate that there is a \u2018correct\u2019 way to interpret the accent (and the \u2018swing\u2019 it is often partnered with) that is not naturally implied in the score \u2013 that is, unless one has \u2018insider\u2019 knowledge about the genre.<\/p>\n<p class=\"x_MsoNormal\">This paper presents an overview of the methodology used to explore the accent symbol and its differences that are said to exist between the stylistic traditions of both classical and tango accentuation in the context of Piazzolla\u2019s 6 Tango-Etudes for Solo Flute (1987). A recording analysis of \u2018non-tango\u2019 flute players playing an excerpt of this work was made using Sonic Visualiser software. Differences in accentuation style were noted in comparison to Piazzolla\u2019s own accentuation techniques on his bandone\u00f3n, as well as those by the author, and tango musicians Fain and Gallo. In a move away from fixed \u2018either\/or\u2019 dichotomies to indicate a correct way of performing the accents, the \u2018and\/and\u2019 model is introduced to explore how tango notation feeds into wider concepts of the acento largo and \u2018tango swing\u2019, which function on macro- and micro-levels for understanding the numerous creative possibilities for future tango performances.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>You are welcome to attend the next MUSIC RESEARCH SEMINAR on Wednesday, 2 March 2016 at 2 pm in Rolle 015, Plymouth University: \u2018I didn\u2019t quite catch your accent\u2019: A recording analysis of accentuation in Astor Piazzolla\u2019s Etude 6 for Solo Flute (1987) for a fresh approach to tango performance\u2019 by\u00a0Dr. Jessica Qui\u00f1ones Despite the&hellip; <a class=\"more-link\" href=\"https:\/\/blogs.plymouth.ac.uk\/artsinstitute\/2016\/02\/28\/music-research-seminar-on-astor-piazzollas-tango-for-solo-flute-2-march-2016\/\">Continue reading <span class=\"screen-reader-text\">Music Research Seminar on Astor Piazzolla&#8217;s tango for solo flute: 2 March 2016<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4,6,5],"tags":[72,37,71],"class_list":["post-138","post","type-post","status-publish","format-standard","hentry","category-events","category-events-for-plymouth-university-researchers","category-public-events-all-welcome","tag-flute","tag-music","tag-tango","entry"],"_links":{"self":[{"href":"https:\/\/blogs.plymouth.ac.uk\/artsinstitute\/wp-json\/wp\/v2\/posts\/138","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.plymouth.ac.uk\/artsinstitute\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.plymouth.ac.uk\/artsinstitute\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.plymouth.ac.uk\/artsinstitute\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.plymouth.ac.uk\/artsinstitute\/wp-json\/wp\/v2\/comments?post=138"}],"version-history":[{"count":3,"href":"https:\/\/blogs.plymouth.ac.uk\/artsinstitute\/wp-json\/wp\/v2\/posts\/138\/revisions"}],"predecessor-version":[{"id":141,"href":"https:\/\/blogs.plymouth.ac.uk\/artsinstitute\/wp-json\/wp\/v2\/posts\/138\/revisions\/141"}],"wp:attachment":[{"href":"https:\/\/blogs.plymouth.ac.uk\/artsinstitute\/wp-json\/wp\/v2\/media?parent=138"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.plymouth.ac.uk\/artsinstitute\/wp-json\/wp\/v2\/categories?post=138"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.plymouth.ac.uk\/artsinstitute\/wp-json\/wp\/v2\/tags?post=138"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}