When approaching music inclusion in Argentina, several issues need be considered. The socioeconom... more When approaching music inclusion in Argentina, several issues need be considered. The socioeconomic fragility of the context is, of course, one of the biggest obstacles for music inclusion, although not the only factor affecting the local field. When applied to people with diverse dis/abilities, the traditional music pedagogic paradigm shows significant limitations in many areas. Overcoming them entails the implementation of a wide range of alternatives to face the challenges posed by a multiplicity of dis/abilities. I claim that improvisation—though not yet a well-developed facet of Western music education—has great potential for music inclusion. I advocate for an ethical approach to the subject by conceiving of music as a right. From this stance, music is an important arena for the inclusion of people with dis/abilities in our societies, and the limited conditions for the development of music for people with dis/abilities hamper the effective exercise of such right. In this sense,...
Article about American composer Pauline Oliveros and her collaboration with Argentine group Reyno... more Article about American composer Pauline Oliveros and her collaboration with Argentine group Reynols, published on The Wire magazine's website.
Article abour Buenos Aires Underground published on Melodie und Rhytmus magazine (Germany) Nov-De... more Article abour Buenos Aires Underground published on Melodie und Rhytmus magazine (Germany) Nov-Dec-2016
Article about Experimental Music in Argentina covering a wide rangeof styles. Published on the bo... more Article about Experimental Music in Argentina covering a wide rangeof styles. Published on the book "Argentina. Contemporary Experimental Sound Creation in Argentina" [UN]COMMONSOUNDS/Arteleku. Donostia-San Sebastián. Spain. 2008
Short article in German about the experience of touring near the Poe North. [translation by Timo ... more Short article in German about the experience of touring near the Poe North. [translation by Timo Berger]. Published on "KULTURAUSTAUSCH – Zeitschrift für internationale Perspektiven". Ausgabe 11/2010. Pag.38. Berlin. Germany
Breve artículo sobre las potencialidades de la Música en personas con Síndrome de Williams. Publi... more Breve artículo sobre las potencialidades de la Música en personas con Síndrome de Williams. Publicado en el periódico El Cisne, Año XVI, Nº187, Págs. 4 y 5, Marzo 2006, Buenos Aires, Argentina.
Un artículo que reflexiona sobre las posibilidades de la Enseñanza de la Música en personas con S... more Un artículo que reflexiona sobre las posibilidades de la Enseñanza de la Música en personas con Síndrome de Down sin olvidar sus implicancias pedagógicas, artísticas y sociales. Publicado originalmente en la revista de la Asociación Argentina de Síndrome de Down (ASDRA) Año 15, Nº46, Diciembre 2003, Buenos Aires, Argentina.
a short article in German about the possibilities of Art for people with Down Syndrome. Published... more a short article in German about the possibilities of Art for people with Down Syndrome. Published on the magazine "Leben mit Down-Syndrom" Nr.46. pag.46. May 2004. Deutsches Down-Syndrom InfoCenter. Lauf. Germany
"To have no idea is a technique but also an attitude; it means the best approach is to listen car... more "To have no idea is a technique but also an attitude; it means the best approach is to listen carefully to what comes from the group and to start working from there." The Argentinian guitarist on performing with musicians with learning difficulties and what they bring to the experimental music scene.
Article sur une experience musical avec six jeunes autistes (le group Les Harry's de l'Hôpital de... more Article sur une experience musical avec six jeunes autistes (le group Les Harry's de l'Hôpital de jour d'Antony) dans le festival Sonic Protest a Paris.
In several ways, the role of the contemporary sound composer has been historically related not on... more In several ways, the role of the contemporary sound composer has been historically related not only to sound itself but to the approaches, attitudes, and concepts inherent to all perceptual processes encompassed by music. In this sense, one of composers' most important endeavors has been the search for modes of work that part from the hegemonic western tradition. Western tradition has constructed a rational system in correspondence with the mandate of the scientific paradigm. This " ideal model " for music is, in essence, a rigorous taxonomy of sounds and processes involved in the musical activity which is oriented towards the ultimate control of sounds. In practice, however, such control has proved far less effective than what the system claims, a fact that has contributed to the generation of an array of fallacies. For instance, although empirically it is almost impossible for a performer to play the same note twice, that is exactly what, for years, scores have been " demanding ". Actually, this kind of inexactness has been pervasively present in pitch, duration and, probably, in every feature of the western system. That's why, recognizing the limitations posed by western music tradition, numerous musicians from different parts of the world have committed themselves to find alternative approaches to music. A crucial point in life that brought me new perspectives on how to approach music was –and still is– the experience of playing with persons that would fall into the social category of " mental and physical disable ". Since we all have abilities and disabilities, I would rather use the term " special people " , which conveys my high regard –if not admiration– for the groundbreaking musical potential they can show. The first thing I learnt from this deep experience was how free special people's natural approach to music is. Their ability to get deeply involved with sounds is actually surprising. We have mentioned the idea of control as a basic assumption of western tradition, and it necessary supposes a degree of separation between subject and object. But just as science cannot control nature because humans cannot be separated
"Deep Listening: Una práctica para la composición sonora" (Dobra Robota, Bueno Aires), 2019
Pauline Oliveros no necesita presentación. Es sin duda una de las figuras más importantes que dio... more Pauline Oliveros no necesita presentación. Es sin duda una de las figuras más importantes que dio la música en la segunda parte del siglo XX y en la primera del XXI. Una compositora con mayúsculas, que impuso su obra con todo lo que significaba ser mujer en un contexto dominado casi exclusivamente por hombres. Ante tanto machismo imperante, la contracara fue nada menos que John Cage, cuando manifestó que a través de la obra de Pauline-y habiendo dejado atrás sus diferencias con Schönberg-finalmente pudo comprender lo que era la armonía (1). Pauline fue una artista que desafió las categorías y los prejuicios sociales para desarrollar una trayectoria única. Desde su paso pionero por el San Francisco Tape Music Center hasta el desarrollo del concepto de Deep Listening. Desde la elección de un instrumento tan poco utilizado en la música contemporánea como el acordeón hasta la expansión que hizo de él con medios electrónicos. Desde sus Sonic Meditations hasta sus experimentos virtuales en internet con la Avatar Orchestra Metaverse. Desde el desarrollo de composiciones de texto hasta la exploración del potencial de la improvisación. Desde su activa crítica feminista hasta su trabajo como investigadora, docente y activista social. De ahí que resulte difícil catalogar su obra; esta se resiste a ser encasillada en cualquiera de los compartimientos estancos que la crítica musical convencional propone, precisamente porque trasciende las etiquetas con una fuerza y libertad que no sabe de limitaciones. Por eso, todas estas categorías toman una dimensión diferente. Para poner un ejemplo: su acercamiento a la espiritualidad hay que pensarlo en el contexto de una sociedad tan materialista como la norteamericana y, en ese sentido, tal vez resulte un gesto más cercano a la crítica ácida de la contracultura que a la mera complacencia del New Age. A la distancia, resulta claro que su obra es orgánica, fluida y consistente, y que tiene una vitalidad que resiste el paso del tiempo.
Argentina: Creacion sonora Experimental Contemporanea en Argentina, 2007
Artículo publicado en el libro "Argentina: Creacion sonora Experimental Contemporanea en Argentin... more Artículo publicado en el libro "Argentina: Creacion sonora Experimental Contemporanea en Argentina" (UnCommon Sounds- Donostia-San Sebastian-2007)
Artículo dedicado al disco "Tontos (Operita" (Music Hall, Argentina,1972) de Billy Bond y La Pesa... more Artículo dedicado al disco "Tontos (Operita" (Music Hall, Argentina,1972) de Billy Bond y La Pesada. Pubicado en el libro “10 Discos del Rock Nacional presentados por 10 Escritores” Ed. Paidos. Buenos Aires. 2013
When approaching music inclusion in Argentina, several issues need be considered. The socioeconom... more When approaching music inclusion in Argentina, several issues need be considered. The socioeconomic fragility of the context is, of course, one of the biggest obstacles for music inclusion, although not the only factor affecting the local field. When applied to people with diverse dis/abilities, the traditional music pedagogic paradigm shows significant limitations in many areas. Overcoming them entails the implementation of a wide range of alternatives to face the challenges posed by a multiplicity of dis/abilities. I claim that improvisation—though not yet a well-developed facet of Western music education—has great potential for music inclusion. I advocate for an ethical approach to the subject by conceiving of music as a right. From this stance, music is an important arena for the inclusion of people with dis/abilities in our societies, and the limited conditions for the development of music for people with dis/abilities hamper the effective exercise of such right. In this sense,...
Article about American composer Pauline Oliveros and her collaboration with Argentine group Reyno... more Article about American composer Pauline Oliveros and her collaboration with Argentine group Reynols, published on The Wire magazine's website.
Article abour Buenos Aires Underground published on Melodie und Rhytmus magazine (Germany) Nov-De... more Article abour Buenos Aires Underground published on Melodie und Rhytmus magazine (Germany) Nov-Dec-2016
Article about Experimental Music in Argentina covering a wide rangeof styles. Published on the bo... more Article about Experimental Music in Argentina covering a wide rangeof styles. Published on the book "Argentina. Contemporary Experimental Sound Creation in Argentina" [UN]COMMONSOUNDS/Arteleku. Donostia-San Sebastián. Spain. 2008
Short article in German about the experience of touring near the Poe North. [translation by Timo ... more Short article in German about the experience of touring near the Poe North. [translation by Timo Berger]. Published on "KULTURAUSTAUSCH – Zeitschrift für internationale Perspektiven". Ausgabe 11/2010. Pag.38. Berlin. Germany
Breve artículo sobre las potencialidades de la Música en personas con Síndrome de Williams. Publi... more Breve artículo sobre las potencialidades de la Música en personas con Síndrome de Williams. Publicado en el periódico El Cisne, Año XVI, Nº187, Págs. 4 y 5, Marzo 2006, Buenos Aires, Argentina.
Un artículo que reflexiona sobre las posibilidades de la Enseñanza de la Música en personas con S... more Un artículo que reflexiona sobre las posibilidades de la Enseñanza de la Música en personas con Síndrome de Down sin olvidar sus implicancias pedagógicas, artísticas y sociales. Publicado originalmente en la revista de la Asociación Argentina de Síndrome de Down (ASDRA) Año 15, Nº46, Diciembre 2003, Buenos Aires, Argentina.
a short article in German about the possibilities of Art for people with Down Syndrome. Published... more a short article in German about the possibilities of Art for people with Down Syndrome. Published on the magazine "Leben mit Down-Syndrom" Nr.46. pag.46. May 2004. Deutsches Down-Syndrom InfoCenter. Lauf. Germany
"To have no idea is a technique but also an attitude; it means the best approach is to listen car... more "To have no idea is a technique but also an attitude; it means the best approach is to listen carefully to what comes from the group and to start working from there." The Argentinian guitarist on performing with musicians with learning difficulties and what they bring to the experimental music scene.
Article sur une experience musical avec six jeunes autistes (le group Les Harry's de l'Hôpital de... more Article sur une experience musical avec six jeunes autistes (le group Les Harry's de l'Hôpital de jour d'Antony) dans le festival Sonic Protest a Paris.
In several ways, the role of the contemporary sound composer has been historically related not on... more In several ways, the role of the contemporary sound composer has been historically related not only to sound itself but to the approaches, attitudes, and concepts inherent to all perceptual processes encompassed by music. In this sense, one of composers' most important endeavors has been the search for modes of work that part from the hegemonic western tradition. Western tradition has constructed a rational system in correspondence with the mandate of the scientific paradigm. This " ideal model " for music is, in essence, a rigorous taxonomy of sounds and processes involved in the musical activity which is oriented towards the ultimate control of sounds. In practice, however, such control has proved far less effective than what the system claims, a fact that has contributed to the generation of an array of fallacies. For instance, although empirically it is almost impossible for a performer to play the same note twice, that is exactly what, for years, scores have been " demanding ". Actually, this kind of inexactness has been pervasively present in pitch, duration and, probably, in every feature of the western system. That's why, recognizing the limitations posed by western music tradition, numerous musicians from different parts of the world have committed themselves to find alternative approaches to music. A crucial point in life that brought me new perspectives on how to approach music was –and still is– the experience of playing with persons that would fall into the social category of " mental and physical disable ". Since we all have abilities and disabilities, I would rather use the term " special people " , which conveys my high regard –if not admiration– for the groundbreaking musical potential they can show. The first thing I learnt from this deep experience was how free special people's natural approach to music is. Their ability to get deeply involved with sounds is actually surprising. We have mentioned the idea of control as a basic assumption of western tradition, and it necessary supposes a degree of separation between subject and object. But just as science cannot control nature because humans cannot be separated
"Deep Listening: Una práctica para la composición sonora" (Dobra Robota, Bueno Aires), 2019
Pauline Oliveros no necesita presentación. Es sin duda una de las figuras más importantes que dio... more Pauline Oliveros no necesita presentación. Es sin duda una de las figuras más importantes que dio la música en la segunda parte del siglo XX y en la primera del XXI. Una compositora con mayúsculas, que impuso su obra con todo lo que significaba ser mujer en un contexto dominado casi exclusivamente por hombres. Ante tanto machismo imperante, la contracara fue nada menos que John Cage, cuando manifestó que a través de la obra de Pauline-y habiendo dejado atrás sus diferencias con Schönberg-finalmente pudo comprender lo que era la armonía (1). Pauline fue una artista que desafió las categorías y los prejuicios sociales para desarrollar una trayectoria única. Desde su paso pionero por el San Francisco Tape Music Center hasta el desarrollo del concepto de Deep Listening. Desde la elección de un instrumento tan poco utilizado en la música contemporánea como el acordeón hasta la expansión que hizo de él con medios electrónicos. Desde sus Sonic Meditations hasta sus experimentos virtuales en internet con la Avatar Orchestra Metaverse. Desde el desarrollo de composiciones de texto hasta la exploración del potencial de la improvisación. Desde su activa crítica feminista hasta su trabajo como investigadora, docente y activista social. De ahí que resulte difícil catalogar su obra; esta se resiste a ser encasillada en cualquiera de los compartimientos estancos que la crítica musical convencional propone, precisamente porque trasciende las etiquetas con una fuerza y libertad que no sabe de limitaciones. Por eso, todas estas categorías toman una dimensión diferente. Para poner un ejemplo: su acercamiento a la espiritualidad hay que pensarlo en el contexto de una sociedad tan materialista como la norteamericana y, en ese sentido, tal vez resulte un gesto más cercano a la crítica ácida de la contracultura que a la mera complacencia del New Age. A la distancia, resulta claro que su obra es orgánica, fluida y consistente, y que tiene una vitalidad que resiste el paso del tiempo.
Argentina: Creacion sonora Experimental Contemporanea en Argentina, 2007
Artículo publicado en el libro "Argentina: Creacion sonora Experimental Contemporanea en Argentin... more Artículo publicado en el libro "Argentina: Creacion sonora Experimental Contemporanea en Argentina" (UnCommon Sounds- Donostia-San Sebastian-2007)
Artículo dedicado al disco "Tontos (Operita" (Music Hall, Argentina,1972) de Billy Bond y La Pesa... more Artículo dedicado al disco "Tontos (Operita" (Music Hall, Argentina,1972) de Billy Bond y La Pesada. Pubicado en el libro “10 Discos del Rock Nacional presentados por 10 Escritores” Ed. Paidos. Buenos Aires. 2013
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Books by Alan Courtis
“10 Discos del Rock Nacional presentados por 10 Escritores” Ed. Paidos. Buenos Aires. 2013
“10 Discos del Rock Nacional presentados por 10 Escritores” Ed. Paidos. Buenos Aires. 2013