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Silvestre Revueltas: Sounds of a Political Passion shows how Revueltas, strongly inspired by the Mexican and Russian Revolutions, sought ways to sound the voice of the commoners wandering the Mexican streets, as well as that of gypsy miners in Spain, Black women in the U.S. South, and slaves in Cuba in colonial times.
Silvestre Revueltas: Sounds of a Political Passion shows how Revueltas, strongly inspired by the Mexican and Russian Revolutions, sought ways to sound the voice of the commoners wandering the Mexican streets, as well as that of gypsy miners in Spain, Black women in the U.S. South, and slaves in Cuba in colonial times.
Produktdetails
- Produktdetails
- Verlag: Oxford University Press, USA
- Seitenzahl: 736
- Erscheinungstermin: 19. Mai 2023
- Englisch
- Abmessung: 237mm x 165mm x 52mm
- Gewicht: 1107g
- ISBN-13: 9780199751488
- ISBN-10: 019975148X
- Artikelnr.: 66122306
- Verlag: Oxford University Press, USA
- Seitenzahl: 736
- Erscheinungstermin: 19. Mai 2023
- Englisch
- Abmessung: 237mm x 165mm x 52mm
- Gewicht: 1107g
- ISBN-13: 9780199751488
- ISBN-10: 019975148X
- Artikelnr.: 66122306
Roberto Kolb-Neuhaus has dedicated his life as a researcher to the study of the music of Silvestre Revueltas. He has published four books on the composer, including the catalog of his works. He designed the Foro Virtual Silvestre Revueltas homepage, and he is also the editor of the bilingual Revueltas Digital Manuscript Library. He is also the chief editor of the Revueltas Critical Edition, published by the National University of Mexico in collaboration with Peer Music. Kolb-Neuhaus has also contributed to the revival of Revueltas in his capacity as a performer and artistic director of Camerata de las Américas. His identity as a cultural promoter has led to the inclusion of Revueltas¿s music in concert programs in Europe, United States and South America.
* Preface
* Introduction
* PART I: Silvestre Revueltas: A Political Composer
* Chapter 1. Political Being and Doing: a Social Biography
* Chapter 2. Political Soundings: Change through Art
* Part II: Targeting Western Modernity: De-Colonial Avantgardism
* Chapter 3. Epistemic Disobedience: Surrealis and Dadaist Soundings?
* Chapter 4. The Lure of the Russian Revolution: Machinist Soundings
* Chapter 5. The Art of the Streets: Sounding "The Piercing Cries of
the Poor and Helpless Street Vendor"
* Chapter 6. Breaking down False Consciousness: The Musical Irony
behind Revueltas' "Geometric Dance"
* Part III: How (not) to Sound the Nation
* Chapter 7. Magueyes and Música de Feria (1932)
* Chapter 8. Colorines (1932)
* Chapter 9. Alcancías (Three Pieces for Orchestra) (1932)
* Chapter 10. Janitzio (1933/1936)
* Chapter 11. Ocho x Radio (1933)
* Part IV: Sounding Utopia: Revueltas' Musical Allegories of Revolution
* Chapter 12. Composing for the People
* Chapter 13. Spain in the Heart: Revueltas and the Civil War in Spain
* Chapter 14. Nostalgia of the Future: Sounding Allegories of
Liberation through Poetry and Music (Co-authored with Susana
González-Aktories)
* Part V: Colonialist Reception and Continued Colonizing of Revueltas'
Music
* Chapter 15. Aberrant Reception Yesterday: Views from Within and
Without
* Chapter 16. Aberrant Reception Today (and Tomorrow?): "Mayadämmerung"
or the Chronicle of a Fraudulent Performance of Exotic Otherness
* Some Closing Thoughts
* Notes
* References
* Index
* Introduction
* PART I: Silvestre Revueltas: A Political Composer
* Chapter 1. Political Being and Doing: a Social Biography
* Chapter 2. Political Soundings: Change through Art
* Part II: Targeting Western Modernity: De-Colonial Avantgardism
* Chapter 3. Epistemic Disobedience: Surrealis and Dadaist Soundings?
* Chapter 4. The Lure of the Russian Revolution: Machinist Soundings
* Chapter 5. The Art of the Streets: Sounding "The Piercing Cries of
the Poor and Helpless Street Vendor"
* Chapter 6. Breaking down False Consciousness: The Musical Irony
behind Revueltas' "Geometric Dance"
* Part III: How (not) to Sound the Nation
* Chapter 7. Magueyes and Música de Feria (1932)
* Chapter 8. Colorines (1932)
* Chapter 9. Alcancías (Three Pieces for Orchestra) (1932)
* Chapter 10. Janitzio (1933/1936)
* Chapter 11. Ocho x Radio (1933)
* Part IV: Sounding Utopia: Revueltas' Musical Allegories of Revolution
* Chapter 12. Composing for the People
* Chapter 13. Spain in the Heart: Revueltas and the Civil War in Spain
* Chapter 14. Nostalgia of the Future: Sounding Allegories of
Liberation through Poetry and Music (Co-authored with Susana
González-Aktories)
* Part V: Colonialist Reception and Continued Colonizing of Revueltas'
Music
* Chapter 15. Aberrant Reception Yesterday: Views from Within and
Without
* Chapter 16. Aberrant Reception Today (and Tomorrow?): "Mayadämmerung"
or the Chronicle of a Fraudulent Performance of Exotic Otherness
* Some Closing Thoughts
* Notes
* References
* Index
* Preface
* Introduction
* PART I: Silvestre Revueltas: A Political Composer
* Chapter 1. Political Being and Doing: a Social Biography
* Chapter 2. Political Soundings: Change through Art
* Part II: Targeting Western Modernity: De-Colonial Avantgardism
* Chapter 3. Epistemic Disobedience: Surrealis and Dadaist Soundings?
* Chapter 4. The Lure of the Russian Revolution: Machinist Soundings
* Chapter 5. The Art of the Streets: Sounding "The Piercing Cries of
the Poor and Helpless Street Vendor"
* Chapter 6. Breaking down False Consciousness: The Musical Irony
behind Revueltas' "Geometric Dance"
* Part III: How (not) to Sound the Nation
* Chapter 7. Magueyes and Música de Feria (1932)
* Chapter 8. Colorines (1932)
* Chapter 9. Alcancías (Three Pieces for Orchestra) (1932)
* Chapter 10. Janitzio (1933/1936)
* Chapter 11. Ocho x Radio (1933)
* Part IV: Sounding Utopia: Revueltas' Musical Allegories of Revolution
* Chapter 12. Composing for the People
* Chapter 13. Spain in the Heart: Revueltas and the Civil War in Spain
* Chapter 14. Nostalgia of the Future: Sounding Allegories of
Liberation through Poetry and Music (Co-authored with Susana
González-Aktories)
* Part V: Colonialist Reception and Continued Colonizing of Revueltas'
Music
* Chapter 15. Aberrant Reception Yesterday: Views from Within and
Without
* Chapter 16. Aberrant Reception Today (and Tomorrow?): "Mayadämmerung"
or the Chronicle of a Fraudulent Performance of Exotic Otherness
* Some Closing Thoughts
* Notes
* References
* Index
* Introduction
* PART I: Silvestre Revueltas: A Political Composer
* Chapter 1. Political Being and Doing: a Social Biography
* Chapter 2. Political Soundings: Change through Art
* Part II: Targeting Western Modernity: De-Colonial Avantgardism
* Chapter 3. Epistemic Disobedience: Surrealis and Dadaist Soundings?
* Chapter 4. The Lure of the Russian Revolution: Machinist Soundings
* Chapter 5. The Art of the Streets: Sounding "The Piercing Cries of
the Poor and Helpless Street Vendor"
* Chapter 6. Breaking down False Consciousness: The Musical Irony
behind Revueltas' "Geometric Dance"
* Part III: How (not) to Sound the Nation
* Chapter 7. Magueyes and Música de Feria (1932)
* Chapter 8. Colorines (1932)
* Chapter 9. Alcancías (Three Pieces for Orchestra) (1932)
* Chapter 10. Janitzio (1933/1936)
* Chapter 11. Ocho x Radio (1933)
* Part IV: Sounding Utopia: Revueltas' Musical Allegories of Revolution
* Chapter 12. Composing for the People
* Chapter 13. Spain in the Heart: Revueltas and the Civil War in Spain
* Chapter 14. Nostalgia of the Future: Sounding Allegories of
Liberation through Poetry and Music (Co-authored with Susana
González-Aktories)
* Part V: Colonialist Reception and Continued Colonizing of Revueltas'
Music
* Chapter 15. Aberrant Reception Yesterday: Views from Within and
Without
* Chapter 16. Aberrant Reception Today (and Tomorrow?): "Mayadämmerung"
or the Chronicle of a Fraudulent Performance of Exotic Otherness
* Some Closing Thoughts
* Notes
* References
* Index