Elite Art Worlds tells the story of the Centro Latinoamericano de Altos Estudios Musicales (CLAEM) in Buenos Aires, the epicenter of Latin American avant-garde music in the 1960s. Looking at CLAEM as both an artistic and philanthropic project connecting Argentina and the United States, author Eduardo Herrera traces transnational webs of financial and aesthetic influence during the Cold War.
Elite Art Worlds tells the story of the Centro Latinoamericano de Altos Estudios Musicales (CLAEM) in Buenos Aires, the epicenter of Latin American avant-garde music in the 1960s. Looking at CLAEM as both an artistic and philanthropic project connecting Argentina and the United States, author Eduardo Herrera traces transnational webs of financial and aesthetic influence during the Cold War.
Eduardo Herrera is Associate Professor of Musicology at Rutgers, The State University of New Jersey. He researches Argentine and Uruguayan avant-garde music, postcoloniality in Latin America and, most recently, collective soccer chants as participatory music making and public affective practice. His co-edited volume Experimentalisms in Practice: Music Perspectives from Latin America (Oxford University Press, 2018) discusses a wide variety of artistic and musical traditions from Latin America, the Caribbean, and Latinos/as in the United States that are conceived or perceived as experimental.
Inhaltsangabe
* List of Figures * List of Tables * Acknowledgments * Introduction: Elite Art Worlds * Chapter 1: CLAEM: 1962-1971 * Chapter 2: John Harrison, Alberto Ginastera, and the Creation of CLAEM * Chapter 3: The Rockefeller Foundation and Latin American Music in the 1950s and 1960s * Chapter 4: The Di Tella Family, Art Philanthropy, and the Legitimation of Elite Status * Chapter 5: Embodied Avant-garde(s): A Way of Being in the World * Chapter 6: From Musical Pan Americanism to Latin Americanism * Chapter 7: The Closing and Lasting Impact of CLAEM
* List of Figures * List of Tables * Acknowledgments * Introduction: Elite Art Worlds * Chapter 1: CLAEM: 1962-1971 * Chapter 2: John Harrison, Alberto Ginastera, and the Creation of CLAEM * Chapter 3: The Rockefeller Foundation and Latin American Music in the 1950s and 1960s * Chapter 4: The Di Tella Family, Art Philanthropy, and the Legitimation of Elite Status * Chapter 5: Embodied Avant-garde(s): A Way of Being in the World * Chapter 6: From Musical Pan Americanism to Latin Americanism * Chapter 7: The Closing and Lasting Impact of CLAEM
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