Prepared by Americas Society with generous support from Citi Foundation. Aaron Copland Life Born in Brooklyn in Studies in Paris with Nadia Boulanger Back in the US in s: involvement with the Communist Party, although he didn’t become a member. First trip to Mexico Additional trips sponsored by the Office of the Coordinator of Inter-American Affairs in 1941, 47, 54 and first book: What to listen for in Music. Three more until First season at Tanglewood (will keep going until 1964). Pulitzer Prize for Appalachian Spring Oscar for The Heiress. Died in Westchester in 1990, after suffering from Alzheimer’s for 10 years. Copland at his house in Ossining

Prepared by Americas Society with generous support from Citi Foundation. Aaron Copland Music Piano Variations 1930, premiered 1931 Salon Mexico – finished 1936, premiered in Mexico 1937 Appalachian Spring – Ballet for Martha Graham, Pulitzer for music in 1945 Closest correspondent in Latin America was Mexican composer and conductor Carlos Chávez ( )

Prepared by Americas Society with generous support from Citi Foundation. Aaron Copland Trip to Venezuela in 1954 Primer Festival Latinoamericano de Música Contemporánea 40 symphonic pieces from 7 countries, including: – Obertura para el Fausto criollo (1948, Alberto Ginastera) – Sinfonía para cuerdas, (1950, Héctor Tosar) – Choros #9 (1929, Heitor Villa-Lobos) – Sinfonía de Antígona (1933, Carlos Chávez) Official account: –Good orchestra, […] lively cultural organization. –…no surprise that Villa-Lobos and Chavez confirmed their reputation as the two leaders in Latin-American composition. –Chávez balanced vibrant indianism of his popular Sinfonía India with with the austerities of the Sinfonía de Antígona. In private: –Very unhappy with V-L, thought Ginastera’s piece uncharacteristic and Tosar’s music stiff. –Really liked Chávez’s concert and his pieces.

Prepared by Americas Society with generous support from Citi Foundation. Instituto DiTella The ITdT was founded in its music branch, the Centro Latinoamericano de Altos Estudios Musicales (CLAEM) opened in Major funding from the Ford Foundation (in the order of $250,000 annually until 1970). Adjusted for inflation, this figure is about $3,000,000. Alberto Ginastera, dean of Argentinean composers directed, assisted by Gerardo Gandini, now himself a leading composer in his 70s. Some of the most distinguished figures of the musical world lectured at the CLAEM, including Copland, Xenakis, Messiaen and others. As the funding dried out in 1970, the CLAEM was transferred to the city of Buenos Aires. The ITdT and its university continue to this day, dedicated to the social sciences.

Prepared by Americas Society with generous support from Citi Foundation. Instituto DiTella Some composers and works: Cesar Bolaños (Peru): Intensidad y altura, first piece written in the CLAEM Ariel Martínez (Argentina): El glotón de Pepperland, last piece written in 1970 before it closed. Pedro Caryveschi (Argentina): Integraciones paraboloides, first using the graphics conversion machine. Oscar Bazán (Argentina): Parcas, not done at the CLAEM but my favorite pieces.

Prepared by Americas Society with generous support from Citi Foundation. Electronic Music Started in the 1950s Two basic ways of making it initially: –Tape recorders (musique concrète) –Synthesizers Sound We can understand and study sound following four basic parameters: 1.Duration is measured in minutes and seconds and, in music, with figures and tempo indications. 2.Timbre lets us tell what instrument is playing. Many factors play in its definition; one of them is harmonic content. When a musical instrument moves, its different parts will move at different speeds and in different directions. What we hear is, in fact, the combination of these many vibrations. This creates a unique waveform that tells us what instrument is playing or who is speaking. 3.Pitch lets us differentiate a low sound from a high one. It is measured in Hz or, in musical terms, with note names or Cents, a pitch unit that divides the semitone in 100 parts. 4.Intensity makes us perceive sounds as loud or soft. It is measured in Db (decibels), in music, it is indicated by the dynamic symbols ( p, f, etc.).

Prepared by Americas Society with generous support from Citi Foundation. Electronic Instruments O F A EG LFO K O: Oscillator F: Filter A: Amplifier/Speakers K: Keyboard LFO: Low Frequency (Slow) Oscillator EG: Envelope Generator Audio Control