Olivier Messiaen

The first bar of the L’Ascension by Oliver Messiaen was taken by
Terényi as “an ostinato bass”, a modal and a harmonical support that has the
variations of the Chaconne to develop onto them. The play has the mirror
symmetries and palindromic structures as a background: from the palindrome
modal scale to the palindrome of the meters and to the retrograde inversion of the
design between the last three parts and the first three parts. Each variation
describes a dramaturgical action that is graphically revealed and gives a space for
many improvisatory variants. The score, together with other plays of E. Terényi were
included in exhibitions and were received with a special interest by the public.

This study examines the ways in which a relationship is created between the piano and electronic sound in order to clarify the prismatic structure of the piece. The analysis will both isolate the acousmatic material and consider it together with the piano part, using the listening experience, rather than analysis software, as its basis. The features of the piece will be defined employing the concepts and terminology of Denis Smalley's spectromorphology, cross referencing his definition of electroacoustic score. The analysis will explore, on the one hand, the relationship between the piano part and the notation employed for the acousmatic material, and on the other hand the piano-specific writing.
The dialectic interaction between the two sound spectra will lead to observations on how various declensions of the concept of mimesis, as expressed by Simon Emmerson, are realised. The concept of mimesis in this case also informs the syntactic aspect of the piece, in terms of both its writing and its micro-structure, which is largely contrapuntal, as well as presenting canonical-imitative situations.
Taking into account that the use of typo-morphological aspects would be more appropriate, particularly when considering the intertextual nature of the context, the study will define the functions of the segments of the piece in the light of their antecedent-consequent relationships and their function within the macroform, and will go on to propose further levels of formal synthesis. This methodology will identify a relationship with the figure of Messiaen and demonstrate the necessity for semantic listening.
The study will conclude by demonstrating how, in a mixed context with an objective bonding linked to concrete data, electroacoustic material might form part of the formal definition of the piece, re-contextualizing concepts of archetypically acoustic form.

Olivier Messiaen is an extraordinary figure: a great philosopher of sound, a composer of French music and an amateur ornithologist. The maître, as he came to be called, attracted many young composers yearning to make his acquaintance. One such composer was Grażyna Pstrokońska-Nawratil. Many similarities can be discerned between these two composers. One of the first is their nature: they display similar character traits. Their output and composition techniques are also unusual and display many features in common. In their creative output, they are inspired chiefly by nature: Messiaen by birdsong, Pstrokońska-Nawratil most often by the sea. They both possess a gift for synaesthesia, and their music is most often described as colourful. Both the master and his pupil employed scales of their own devising, the construction of which is determined by the principles of symmetry. Finally, they were both hugely influenced by St Francis, who inspired them with his life and his philosophy, as well as the frescos in Florence devoted to him and Assisi, the town of his birth. Analysing these similarities and the characteristic features of the two composers’ music and drawing on a definition put forward by Krzysztof Szwajgier, the author of the article wishes to consider whether their music may be defined with the term »natural«.

Introduction to the collection of essays entitled "Messiaen the Theologian." Includes a rationale for the collection and brief description of each essay. For Olivier Messiaen, music was a way of expressing his faith. He considered it his good fortune to have been born a Catholic and declared that “the illumination of the theological truths of the Catholic faith is the first aspect of my work, the noblest and no doubt the most useful.” Messiaen is one of the most widely performed and recorded composers of the twentieth-century and his popularity is increasing, but the theological component of his music has so far been neglected and continues to provide a serious impediment for some of his audience. Messiaen the Theologian makes a significant contribution by providing cultural and historical context to Messiaen’s theology. An array of international Messiaen scholars cover a wide variety of topics including Messiaen's personal spirituality, the context of Catholicism in France in the twentieth century, and comparisons of Messiaen with other artists such as Dante, TS Eliot, and Maritain.

Introducing Messiaen the Theologian
Andrew Shenton

Part One Messiaen the theologian
1 Religious literature in Messiaen’s personal library
Yves Balmer
2 Messiaen as preacher and evangelist in the context of European modernism
Peter Bannister
3 Messiaen’s ‘saintly naïveté’
Sander van Maas

Part Two Messiaen’s relationship with theologians
4 Olivier Messiaen and Cardinal Jean-Marie Lustiger: two views of the liturgical reform according to the Second Vatican Council
Karin Heller
5 Messiaen’s relationship to Jacques Maritain’s musical circle and neo-Thomism
Douglas Shadle
6 Messiaen and Aquinas
Vincent P. Benitez

Part Three Messiaen, poets and theological themes
7 Dante as guide to Messiaen’s Gothic spirituality
Robert Fallon
8 Five quartets: the search for the still point of the turning world in the war works of T. S. Eliot and Olivier Messiaen
Andrew Shenton

If Messiaen’s claim to have given “Gagaku,” the centerpiece of Sept haïkaï, a “Christian dimension” proves intriguing, “Miyajima et le torii dans la mer,” the following piece of the set, may strike us as even more perplexing in makeup.  Apart from the use of an octachordal soundband to imitate the shō playing of gagku music, “Miyajima et le torii dans la mer” is deprived of other conspicuous Japanese musical elements. Instead, there is a rich display of French birdsong, Greek rhythm, and, most unexpectedly, what Messiaen refers to as the “theme of chorale.”  Even though the torii of Miyajima – unlike any other torii in that it is set up in the sea rather than on land – is commonly construed as a gateway that leads to the Shinto shrine, Messiaen takes a different perspective and views through the torii not the Shinto shrine but rather the open sea.  This explains his conception of the torii as leading to what he calls “an invisible temple,” which he remarks emphatically as “the true temple.”  The idea of an invisible temple and, by extension, an invisible God might have led Messiaen to arrive at the unexpected but nonetheless symbolic intrusion of a chorale.  I thus argue that Messiaen’s use of such non-Japanese elements as French birdsong, Greek rhythm and, above all, the “theme of chorale” tells of a hidden program, a metaphor that is shrewdly withheld from his copious commentaries on the music.

This was an experimental paper from 2002.  It is an interpretation of a piece of organ music by the French composer Olivier Messiaen.  The main argument is that Messiaen's piece is a model of a certain kind of theology.  The incorporation of elements that are non-Christian (birdsong, rhythms from Hindu music) into a 'Christian' artifact reveals how porous and blurred the edges of a tradition are, at least when something truly beautiful is being fashioned.

Olivier Messiaen’s “Méditations sur le mystère de la Sainte Trinité” (Meditations on the mystery of the Holy Trinity) for organ were completed in 1969, following the monumental orchestral work “La Transfiguration de Notre Seigneur Jésus-Christ” (1963-69). A summation of Messiaen’s compositional technique up to this point, the “Méditations” contain a sophisticated semiotic system which includes bird song, modes of limited transposition, deçi-talas, plainsong, passages from the “Summa theologiae” by Saint Thomas Aquinas, and text superscriptions from a variety of sources. They reach a new height in Messiaen’s idiomatic use of the timbral resources of the organ, and they incorporate an innovative feature, which Messiaen termed the “langage communicable” (communicable language). This novel musical language, which he explains in the Preface to the score and in conversations with Claude Samuel and others, is comprised of three elements: (1) a musical alphabet, which assigns a rhythmicized pitch to each letter of the Roman alphabet, (2) a system of grammatical cases based on Latin, and (3) a series of leitmotifs. These three categories are combined to transliterate phrases from the “Summa theologiae” into music. This essay examines the “langage communicable” linguistically and musically, and places it in the broader semiotic system of the “Méditations.”

Traces the elements that Marcel Dupré's biggest organ work has in common with the better-known epics of Messiaen, one of his star pupils; but these features ultimately matter less than the stylistic differences separating the two men. This article is based on a talk originally given at Monash University during April 2018.

Os ateliers, seminários e encontros realizados com Claude Ledoux se inscreveram no âmbito de atividades acadêmicas desenvolvidas na Unicamp e na Usp na área de Análise Musical e compreenderam: Reflexão sobre a Análise Musical relacionada a tradições populares; Impacto do conhecimento de tradições populares no ato da composição musical; Claude Debussy e as tradições do Sudeste Asiático; Ligeti e a influência de músicas subsaarianas; Feldmann, tradições do Oriente-Médio e filosofias orientais; Scelsi, Murail e Harvey: interesse mutuo em músicas tibetanas, mongólicas e outros rituais budistas; Eötvös e Kurtag em relação às tradições da Europa Central; Claude Ledoux: influência das músicas da Índia do Norte e Indonésia; Relações com etnomusicologia e improvisação musical em extensão às reflexões analíticas; Levy Strauss e a Sinfonia de Berio; Relação entre música e texto em Berio e Kurt Schwitters.

Messiaen’s piano cycle Catalogue d’Ossiaux is an exploration of the world of birds in which each piece represents a bird and its environment. One of the most interesting explorations is found in the second piece of book 5 L’Alouette Calandrelle as it displays Messiaen’s writing ability at “its most astringent and economical.”

The purpose of this essay is to explore which are the compositional elements that Messiaen uses in this piece, which conceptualization supports them and how these elements come together in an antidiscursive
manner that suggests an element of contemplation with results that are expressive, meaningful, and particularly adequate to carry out Messiaen’s theological and aesthetic thought in his music. Taking into consideration Kantian philosophical notions of “The thing in itself” and “Phenomena” the essay will be divided in two sections that are presented -for the sake of clarity in exposition- in two diverging strands. This divergence is an attempt to express two aspects of perception in Messiaen’s work, understanding that the totality of his music gravitates between two large poles of tension: the humanistic (the work of art, the musical artifact, the compositional elements, and the auditory phenomena) and the philosophical-mystical (the meaning of the music, the interpretation of nature, and the faith in noumenal reality). Visualizing these poles and considering them in their interaction is essential for an integral comprehension of this music, and for an understanding of the implications of this tension that is resolved, in the broader level of aesthetics, in a third moment that totalizes the musical experience.

This study shows, through a new reading of Technique de mon langage musical, and examples of Olivier Messiaen’s composing with elements found in the music of Claude Debussy, that borrowing plays a more central role in Messiaen’s compositional practices than has previously been recognized. Messiaen’s conscious and intentional reuse of Debussy’s music spans the length of his career, and primarily involves passages from Pelléas et Mélisande and a handful of piano works. Using Messiaen’s descriptions of Debussy’s influence, his analyses of Debussy, and his own theoretical writings, we examine examples of Messiaen’s musical borrowing in terms of their compositional strategy. Four groups of case studies describe how Messiaen transforms borrowed harmonic material, creates meaning, borrows gesture, and composes texture and form by combining different types of borrowed material.

The paper covers the mission and organizational makeup of the Festival of Arts, Shiraz-Persepolis, 1967-1977, and highlights its international programs in music, dance, theatre and film. The report concludes with the cancellation of the festival at the onset of the 1979 Islamic Revolution in Iran.

A multifacetada carreira de Wassily Kandinsky (1866-1944) projeta desafios e provocações para o diálogo entre artes e saberes. Entre ensaio, literatura, etnografia, pintura, música e teatro, Kandinsky se move em meio a realizações estéticas e reflexões conceptuais.
Neste livro, tais aspectos multissensoriais de Kandinsky são examinados a partir de estudos preparatórios e documentação de processo criativo para um projeto interartístico específico: orquestrações para o ciclo de pinturas denominado Composições, do pintor russo.
Ao fim, o que se vislumbra é um amplo campo de experimentações que se articula a partir de diversos espaços-tempo de escrita: os traços na tela, as notas na pauta e as palavras na página.

This study seeks to determine the extent to which selected works by Olivier Messiaen (1908-1992), Pierre Boulez (1925-2016), and Tristan Murail (b. 1947) support or contradict the notion of “rupture” in the Parisian musical establishment during the twentieth century. Aesthetic and political considerations of the historical narrative frame comparative analyses of Murail’s Territoires de l’oubli (1977) to the ethos of Messiaen’s Sept haïkaï (1962) and Couleurs de la cité celeste (1963), and to the technique of Boulez’s Structures II for two pianos (1956-61). It is concluded that Messiaen’s influence on Murail was largely one of ethos and not technique. It is determined that Boulez and Murail share similarities in their approaches to form and the manipulation of piano sonority and resonance. It is thus considered that their aesthetic divide is of little substance to the content of their music.

Olivier Messiaen’s Turangalîla Symphonie bears aesthetic characteristics compatible with both modern and postmodern concepts; however, this article argues that assimilation to the latter category becomes inevitable when Turangalîla is viewed unproblematically through the eyes of the present.  Situating Turangalîla within its own productive context, and deriving its significance therefrom, this article corrects such anti-historicist tendencies by demonstrating the historical dependence of aesthetic meaning.  It is argued that these meanings can in large part be understood through Messiaen’s rejection of the composer’s own capacity for aesthetic discrimination.

O estudo da música, não somente do presente como também do passado, como um método de compreensão do pensamento e processo composicional. A análise musical pode ser praticada com essa finalidade, não buscando uma verdade absoluta, mas uma projeção do individuo na obra que estuda. Diversas questões, problemas, perguntas referentes à música de hoje e mesmo questões e preocupações individuais dos compositores contemporâneos podem ter respostas e soluções encontradas durante o estudo de músicas do passado. Portanto, os processos criativos possuem aspectos que podem transcender tempo, estilo, gênero e suporte.

Referências a Theodor Adorno (Teoria da estética) e Edgar Morin (Complexidade).

Ledoux destacou os seguintes aspectos da composição musical:
• Material (escalas, temas, motivos etc);
• Técnica;
• Projeto musical.

Bem como a simbologia presente de diversas maneiras nas obras musicais, variando conforme épocas, estilos mas também de um compositor a outro.

Foram estudadas representações musicais nos períodos barroco, clássico e romântico através de obras de :

• Bach: Fuga nº 1 a 4 vozes, Cravo bem temperado, vol. 1 ‐ BWV 846
• Haydn : Sinfonia nº 98 (Sib Maior) – 1º movimento; Quarteto Op. 76 – nº 2 (ré menor)),
• Mozart : Cosi fan tutte 3 (ópera) ; Sinfonia Praga4; Sonata K. 330 – 2º movimento
• Beethoven: Quarteto nº 13 – Op. 130 – 1º movimento

This comprehensive volume offers a wide-ranging perspective on the stories that art music has told since the start of the 20th century. Contributors challenge the broadly held opinion that the loss of tonality in some music after 1900 also meant the loss of narrative in that music. To the contrary, the editors and essayists in this book demonstrate how experiments in approaching narrative in other media, such as fiction and cinema, suggested fresh possibilities for musical narrative, which composers were quick to exploit. The new conceptions of time, narrative voice, plot, and character that accompanied these experiments also had a significant impact on contemporary music. The repertoire explored in the collection ranges across a wide variety of genres and includes composers from Charles Ives and the Pet Shop Boys to Thomas Adès and Dmitri Shostakovich.

[Table of contents etc: http://www.iupress.indiana.edu/product_info.php?cPath=1037_5718_5753&products_id=806644 ]
[Sample chapter: http://www.academia.edu/749803/Agency_Determinism_Focal_Time_Frames_and_Narrative_in_Processive_Minimalist_Music ]

This is the first in a two-part study guide for Howard Hanson's "Harmonic Materials in Modern Music: Resources of the Tempered Scale".

This work is based on the original 1960 publication of the work and covers Parts I-V and Chapters 1-39 which ends at pg. 259 in the original. Hanson's full original text is 376 pages and my Part 2 will cover the rest of the work.

Hanson places great emphasis on the development and formation of new scales using mirroring principles in particular (which he terms "involution"), thus providing a different but complementary approach to others working in this field such as Hába, Slonimsky, and Carter among others. Unlike many texts that deal with a vast array of scales and pitch sets, Hanson seeks to organise and rationalise the vast and complex symmetrical relationships that reside within the chromatic scale using, most notably but not exclusively, a variety of intervallic "projection" and mirroring techniques. Those interested in an organised approach to the resources within the chromatic scale for composition, improvisation, and analysis of existing works might find Hanson's concepts appealing and useful.

This study guide includes the concepts covered in Hanson's book while omitting the original exercises in notation, compositional suggestions, and the references to external works of other composers. The commentary has been kept to a minimum and I have endeavoured to explain Hanson's concepts in as brief and succinct a manner as I could without jeopardising key points which could lead to misunderstanding. I have chosen to omit Chapter 1 on Equal Temperament and instead start on Chapter Two where Hanson begins to discuss his generalised concepts in earnest. Additionally, in many cases I have omitted intervallic projections that have repeated tones and have only included examples which feature discreet collections rather than repeated tone examples which are present in the original.

I hope this study guide will be beneficial for creative musical work and also hope that it can be used as a companion to the original text.

This paper will examine Arnold Schönberg’s influence on modern jazz through the teachings of one of its most respected theorists and pedagogues Dennis Sandole, mentor to John Coltrane, James Moody, Art Farmer, Randy Brecker, Jim Hall, Rufus Harley, Pat Martino, and many other important jazz artists.

Through the analysis of musical examples, this paper proposes that important conceptual links exist between some of Schönberg’s key compositional concepts and Sandole’s pedagogical literature and practice which would go on to influence John Coltrane and many other jazz practitioners for decades to follow helping to solidify Schönbergian ideas and concepts within the syntax of modern jazz. Schönberg’s utilisation of various segmentation schemes such as trichords, tetrachords and hexachords, use of interval cycles particularly that of interval cycle 4 or major thirds, and the compositional practice of stating the complete chromatic collection within a relatively short musical space have provided jazz practitioners such as Sandole and Coltrane with a new conceptual framework for employing the total chromatic harmonically and melodically in modern jazz practice.

This thesis argues that the disciplines of comparative philology and linguistics exerted significant force on the priorities and techniques of musicologists and composers in fin-de-siècle France, and examines how ideologies of Indo-Europeanism (or aryanism), concomitant with comparative philology, generated efforts to ‘sound out’ Indo-Europeanism in music. Using a relational approach, dense interdisciplinary networks of philologists/linguists, musicologists, and composers are reconstructed to demonstrate how musicological appropriations of linguistic research reverberated in musical composition right through the 1950s. These contexts reveal how wide-ranging repertories emerged from ethnic-nationalist projects of reclaiming Indo-European ‘patrimony’. The thesis is in two Parts. Part I, ‘Philologie comparée, musicologie, and Indo-European hypotheses’, is organised around four overlapping intellectual networks comprising comparative philologists and musicologists. Francophone musicologists’ efforts to model their discipline on that of comparative philology are surveyed. Scholars discussed include Fétis, Gevaert, Bourgault-Ducoudray, Burnouf, Meillet, Aubry, Emmanuel, and Grosset. Arguments concerning the place of music between concepts of ‘language’ and ‘race’ are retraced, with special attention paid to musicologists’ efforts to pinpoint quasi-morphological ‘Indo-European’ musical structures – in particular, ‘modes’ and ‘metres’ – construed as ‘essential’ and ‘ancestral’. Part II, ‘Composing with philology: performances of authenticity and innovation’, describes how the intellectual project elaborated in Part I infiltrated compositional practices. Close musical and paratextual readings show how composers legitimated experimentalism through ‘performances’ of philological ‘authenticity’. Over time, musical parameters such as modes and metres are abstracted and assimilated into compositional lexicons. Composers discussed include Bourgault-Ducoudray, Saint-Saëns, Séverac, Roussel, and Emmanuel. This root system flourishes in the music of Olivier Messiaen, whose rhythmic technique is revisited in light of manuscript materials. From his borrowings of early Indian metres (deśītālas) through his hyperformalist ‘Mode de valeurs et d’intensités’, Messiaen’s rhythmic style is radically reinterpreted as a logical extension of francophone musicology’s disciplinary and epistemological inheritance from comparative philology.

Renowned French composer, Olivier Messiaen, famously stated, “I think jazz is a ‘robber’ whose ‘innovations’ are, in reality, borrowings from earlier symphonic music.” However, upon closer examination, his compositions appear to be full of elements idiomatic to jazz. Since jazz was an overwhelming inspiration for French composers from Debussy to Poulenc, why would Messiaen reject its influence? The author takes an in-depth look at Messiaen’s scores and compares them to the works of jazz improvisers and composers such as Louis Armstrong and Duke Ellington. Possible explanations for Messiaen’s stated disapproval of the genre are explored.

_Dance, spell and prayer. The “expressive renewal” of French music in the 1930s_

This is a study of rhetorics linked to the renewal of musical language in 1930s Paris. The verbal rhetoric: manifestos and composers’ writings; the musical rhetoric: the different strategies used by “non conformist” composers (in particular, Jolivet and Messaien) to renew their musical language without loosing its expressive power.

Shortly before Gilles Deleuze's death, he discovered a new kind of music: glitch, in particular, Oval's Systemisch. "[Achim] Szepanski contacted Deleuze himself, sending material by Oval and other Mille artists, and asking if he'd write an essay for Achim's planned anthology of techno theory, Maschinelle Strategeme. The great man wrote back saying he couldn't do it, but gave his blessing to the label, and said that he particularly dug Oval. 'He even wrote about specific tracks!' exclaims Achim" (Technodeleuze and Mille Plateaux, 40-41). Now, why did Deleuze like this album so much? Sadly, his written comments were lost in a fire, leaving it as a total mystery what it is about glitch music that moved him so profoundly. Nonetheless, while we may never find documentation providing a certain answer, we might still take this situation as an opportunity to advance our understanding of Deleuze's other musically-related philosophical notions. For instance, Deleuze's characterization of rhythm is a promising companion-concept to glitch, given the particular way Deleuze understands rhythm as involving irregularities and unpredictabilities. So we ask: might there be ways of understanding glitch as a continuation and elaboration on his notion of rhythm? Or in the very least, might a study of glitch music illuminate certain important conceptual features of Deleuze's notion of rhythm?

L'article  esquisse une rythmologie philosophique dont il énonce les règles "arythmétiques". Je propose le mot-valise “arythmétique” pour désigner le système deleuzien de la répétition complexe. Premièrement, ce terme rappelle la fusion proprement pythagoricienne entre arithmos et rhuthmos : comme dit Deleuze, « le nombre nombrant est rythmique ». Deuxièmement, ce mot-valise suggère l’idée paradoxale suivant laquelle l’arythmie est la source du rythme : « le rythme est l’Inégal ou l’Incommensurable ».

A partir de un estudio detenido de algunos de los postulados de las teorías cuánticas y de sus relaciones con el campo electroacústico (Rocha Iturbide, 1999), el autor de este artículo establece un campo comparativo más arriesgado que involucra al campo filosófico de la estética, específicamente el que se relaciona con la música contemporánea de mediados del siglo XX. Se intenta definir una estética cuántica que nos daría como posibilidad el surgimiento de distintos estilos válidos (Zohar 1990), pero haciendo énfasis en los que más se acercan - de manera consciente u inconsciente - a estos principios cuánticos. El resultado de esta investigación le ha permitido al autor establecer una nueva manera para percibir y analizar la música contemporánea, la electroacústica y el paisaje sonoro, así como para crear obras sonoras nuevas dentro de estos distintos ámbitos.

This article deals with the philosophical idea of worldmaking pursued through techné, meaning the fusion of the technical means of artistic creation, theorizing, and analysis, but specifically occurring in a feedback loop involving introspection and computation (cybernetic phenomenology). The discussion ranges over a wide variety of topics, including (1) the history of music theory from Ancient Greece to the present (including a rebuttal to Daniel Chua’s (2001) account of music history); (2) emergent properties in music arising from self-organization (explored through the Ancient Chinese abstract strategy board game go); (3) the ontology of musical qualities (properties) and categories (including their relation to visual, tactile, and olfactory qualities and categories). 
Various repertoires, artists, and philosophies are referenced. The essay analyzes aspects of Ligeti’s Violin Concerto, Carter’s String Quartet No. 5, and Lachenmann’s Kinderspiel.  Connections to the author’s own previous analytical and theoretical work are also discussed in relation to his interactive algorithmic audio-visual works (such as Fluxations and FluxNOISations). The techné of these is discussed in terms of logistics as well as aesthetic influences, including Wagner, Liszt, Stravinsky, Schoenberg, Crawford, Babbitt, Carter, Xenakis, Parker, Reich, Ligeti, Truax, Oliveros, Kandinsky, Miro, Pollock, Pollock, Hofmann, Rothko, Louis, Frankenthaler, Moholy-Nagy, Newman, Richter, and Brakhage.  The essay touches on philosophical ideas of Bergson, Whitehead, Deleuze, Harman, and Bogost, and more fully engages the philosophies of Nelson Goodman and Hannah Arendt in connection with artistic creation as relating to the theorizing and analysis of artistic works.     

Contact the author at jmailman@alumni.uchicago.edu
Download the article through JSTOR: http://www.jstor.org/stable/10.7757/persnewmusi.54.1.0005
or http://tinyurl.com/zdvkllr

Listado de docentes, concursos, becarios, visitantes invitados, biografías, conciertos de los "Seminarios de composición" y de los "Festivales de música contemporánea" que se desarrollaron en el Centro Latinoamericano de Altos Estudios Musicales (CLAEM) del Instituto Torcuato Di Tella. Publicado en: Castiñeira de Dios, José Luis. 2011. La música en el  Di Tella: resonancias de la modernidad, 74-139. Buenos Aires: Secretaría de Cultura de la Presidencia de la Nación.