Through music and dance, every civilization expresses its deepest nature. It is from that subjective view that we are able to bring out to light its roots, history and its memory. Understanding in a synthesis of significance, how one mentality expresses its conception of the world.
OBJECTIVES:
Theory
The central objective of the course is to go through the historical process by means of this archetypical expression of Argentine culture, analyzing its evolution and development in the field of music and poetry. Students will develop rhythmic, harmonic, and melodic audio-perception so that they may appreciate and recognize different styles and instrumental characteristics.
Practice
Through the practice of Tango, the students will acquire improvisation techniques of this popular dance. There will also be an analyzing process of the milonguero in Argentine history.
CONTENT
Unit 1: Origins
Theory
Buenos Aires in the end of XIX Century: social and historical context. The “brothel stage” of tango. The first characters and stereotypes of tango. Lyrics and themes of the first tangos. The first ensembles. The creation of the bandoneón.
Social and political context of its origins (1880).
Immigration incentive laws.
Buenos Aires as capital and center for internal and external immigration.
Customs and habits prior to tango epoch.
Origins of the word tango.
Tango Andaluz, Tango Negro, Hanernar, Milonga, and Candombe.
Characters of tango: el gaucho, el negro, el comadrita. European immigrants. Milongueros (Gabino Ezeiza, El Negro Casimiro, Sebastián Ramos Mejia, etc)
Brothel and tenement house as meeting places of cultures.
Lunfardo.
Surging of the first lyrics. First compositions (violin, flute, guitar)
European origin of the dance.
Origin of dance as a mockery of candombe.
The first written tangos and its authors.
The introduction of bandoneón.
Practice
Walking techniques.
Rhythm and balance exercises.
Basic step.
Unit 2: Organization
Theory
The first musicians and professional ensembles. The Cabaret. The beginning of sextets. Origins and consolidation of typical orchestra. Carlos Gardel and the raid of vocal tango. The poetic evolution in texts. The Lunfardo. International projection and triumph of tango in Paris.
Social and historical context.
Immigration boom.
Founding of the old guard.
Forming of sextet as the standard structure.
Tango: from suburbs to the town center.
First dances (Arolas, Firpo)
Pascual Contursi. Record development.
Rhythmic transition from milonga to tango.
Tango in the United States and in Europe.
From brothel to cabaret. Making it more professional..
Increasing influence of immigrants.
Carlos Gardel. Origins of gaucho songs. First recordings. Diffusion of his songs through his films.
Paris, creation of the myth.
Consolidation of the singer figure in tango.
Gardel’s death; a new epoch.
Practice
Posture and taking of dance partner.
Signs
Figure eight and forward
Unit 3: Golden Age
Theory
The massiveness of tango; its boom in radio and film. Popular explosion of the dance. Thrive of tango poetry. Orchestral evolution and consolidation of the principal styles of the ‘40s: Pugliese, D’arienzo, Trolio.
Social and historical context.
Populist governments.
Working class as protagonist.
Consolidation of bandoneón.
First compositions for instruments.
Definitive separation of Milonga and Tango.
Adjoining styles. (Vals, Candombe, Jazz). The splendor of vocal tango.
Analysis: mechanism of orchestras. Its hierarchies (director, soloists, singers, etc)
The radio: the first great diffuser. General panorama of programming with tango at the center.
Generation of ’25. (Florentino, Vardaro, Pugliese, Discépolo, Cadícamo, Trolio, Grela, Rivero)
“Traditionalists” (Filiberto De Angelis, Biaggi)
“Evolutionists” ( Mafia, Di Sarli, Vardaro, Trolio, Pugliese, Caló). First symphonic tangos.
Sonorous band. Films dedicated to this genre. Its diffusion to theaters.
Tango in carnival dances and in sweetshops.
First research studies about the history of tango.
Great classics: (Amurado, Adiós muchachos. Garufa, Caminito, Cambalache, Como dos extraños, Nostalgias) Analysis of the different versions.
1940’s: Tango and politics: use of tango as unit of identity. Artistic hegemony of Buenos Aires with respect to other “tango cities” such as Montevideo and Rosario.
Directors as organizing figures (Trolio, Darienzo, etc)
New poetry in tango. General thematic analysis since its origin, to this epoch.
Japan: new market
Practice
Code of signs
Basic postures
Figure 8 and back
Accompaniment of the learned figure
Signs
Pauses
Turns
Unit 4: Modernization and vanguard
Theory
The decline of orchestras and return of small ensembles. Astor Piazzolla and tango as concert music. Crossed influences between chamber music and jazz.
Social and historical context.
Return to small ensembles.
The adding of electric instruments.
Increasing interest from musicians of other genres.
First academies. Tanguerías
Astor Piazzolla: Analysis of his change within Tango from 1946 to 1970. Work in film
Classical influences: Stranvisky, Bartök, Ravel
Synthesizers: 1970 " 1980
Practice
Recognition of partial space (of the dance partner) and total space (sense of turn and displacement)
Ganchos
Combinations
Unit 5: Contemporary period and Present-day
Theory
Post-piazzollism. Presence of tango in national rock movement. “Argentine Tango” and a new international boom in the 80’s. Tango today and speculations about its future.
Social and historical context. Democratic opening.
“Argentine Tango” and the opening of a new epoch. New post-Piazzolla (Mederos, Ziegler, Binelli, Quintero Real, etc). Creation of School of Popular Music with Tango professorship.
Influence of tango in rock movement. The new radio and television stations dedicated to tango.
Increase in tango ensembles in other countries (Holland, Japan, Denmark, Finland) and its consolidation as universal language.
Tango as a new path for young musicians.
Debate about its future and actuality.
Practice
Management of musical structure.
BIBLIOGRAPHY
Horacio Ferrer, "El siglo de oro del Tango" (Manrique Zago ediciones).
Oscar del Priore, "El Tango, de Villoldo a Piazzolla y después" (Manatial).
Luis Adolfo Sierra, "Historia de la orquesta típica" (Corregidor).
Humberto Barrella, "El tango después de Gardel, 1935/1959" (Corregidor).
Compilado, autores varios, "La historia del Tango" (Corregidor).
Blas Matamoro, "La ciudad del Tango" (Galerna).
José Gobello, "Palabras perdidas" (Amaro).
Simón Collier, " Gardel, su vida, su música".
Horacio Salas, " El Tango, una guía definitiva".
Ernesto Sábato, "Tango, discusión y clave" (Losada).
Jorge Farjat, "La inmigración" (Colección Arte y Memoria audiovisual).
Horacio Ferrer, "Tango, su historia y evolución".
Compilado, autores varios, "Crónicas de Buenos Aires".
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