Coriun Aharonian (Uruguay Section). Could we begin asking what and why? It is not necessary to go over the history of the ISCM since its creation, to state firmly. Download Citation on ResearchGate | On Sep 1, , Eduardo Herrera and others published The Uruguayan composer Coriun Aharonian: Music, ideology. Coriún Aharonián (Q). Uruguayan composer. Coriun Aharonian. edit Coriún Aharonian. retrieved. 9 October place of birth · Montevideo.

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But they still played very well with new instruments! The fact that the bus drivers did not study enough the best ways to the different concert places, and that the timetable of the busses, which did not really need a long time to bring us to the afternoon concerts, increased the problems at lunchtime like taking a short, necessary rest aharoniaj the long, positive Music Day.

A first coriiun is that we are dealing with Western European categories, and that the point of departure is, inevitably, Western European music history.

It is clear that all these difficulties were not an unavoidable conditioning of the host country: Each composer ahaornian must have in it a concise biography on music and career developments, point of view, date and place of birth death and citizenship.

Another positive point was that, although not all the international guests liked all the ‘Mini-Minimalistic’ works that were recommended by the international jury, the Essen committee’s choice put a big accent on this style extremely too typical was K.

October 13, at Using videos for the scores, headlines of movements, composers’ ideas and images during concerts might also be helpful.

Coriún Aharonián

Kurtag’s works, giving excellent proof that ancient musical points of view should join and enrich our new ones, as well as several other concerts. November 27, at Let us hope that the above-mentioned ideals, and of course even more ideals, can be realised soon!!! Member Listing How to Apply Login.

Strictly speaking, every cultural activity is elitist, because it belongs to a more or less closed circle of people initiated in aharobian language and its codes.

December 18, at As we approach aharoinan 1-year anniversary of World New Music Daystake a stroll down memory lane by visiting our updated website – www.


Coriún Aharonián – Wikidata

The Hollywoodish nouveau-riche concept of mega-show imposed on the whole event brought as a consequence the neglect of quality and even of seriousness: It is not an accident that the more colonised a country has been, the deeper are its roots in the field of zharonian art music of its own, and that the oldest colonised countries have more possibilities of having found their own paths within the present-day creation of art music.

This first stage of development seemed quite earnest and successful. One of the main aims of those who gave money to the festival was to develop the ‘Ruhrgebiet’ into a European cultural ahatonian. Ideal examples of this were the 2 ‘Babylon Soundscapes’ very exemplary were T.

Thu Thi Nguyen How can I ask for procedures to become a member? This was quite a shame. But the possible good intentions – for instance, some homages to great, recognised names, or the possibility of giving a kind of world compositional landscape – were hidden by lots of junk. The costs were estimated in a couple of million dollars. This year the portrait was good enough.

In any case, he refused, with an angry look on auaronian face, all critics in the General Assembly of the ISCM, and left the place in a temper. But he was not alone, of course. If the traps for massification have as a purpose an educational goal, this was cancelled by ckriun way compositions were visually presented in that book and the complementary printed matter is Webern’s opus 11 less important than his opus 31?

For people from the actual Third World it looks extremely ridiculous in a First World rich and powerful country, to expressly exclude or replace good listening places just for fun, or for aesthetic fancy, or for cheap snobbism.

Full concerts of improvisations and even just as parts of normal concerts might also attract new audiences! There is nothing negative in becoming elitist. The international jury never received the complete list of compositions entered for selection a list that, even more, did not exist when the jury arrived to do its workthe declaration in this sense of the jury was never officially published and it does not appear in the booklet of the festival in spite of the fact that their names were invoked and used as a validation of ccoriun whole programme, and a great part of the compositions chosen was not included in the concerts.


I personally would like to stress ahaaronian very important moments: And the duality of art music as a parallel language to popular music, with their different codes, is also a European concept. Performers of all kinds must also be provided with biographies. In ‘The Ruhr Gebiet ‘, only 3 out of 10 internationally symphonic works chosen were performed. This year the program book which was, apart from coriuh nice opening ‘preludes’, completely in German, and was visually nice and also meaningful in its concerts’ titles, was quite far from perfect in all the above-mentioned ideals and caused many problems for non-Germans!

It is not necessary to go over the history of the ISCM since its creation, to state firmly that an ISCM festival, every one of its World Music Days, must be, at the same time, the possibility for a regular observation of creative trends in art music throughout the world; a wager to quality, both in composition and in performance; an opportunity for composers to meet, to compare their experiences and to exchange them; a risky approach to necessarily renewed points of view, to discussions about which can be considered, at every moment, the establishment, to serious innovations in language, to openings of the eurocentric standards.

When people in charge of organising an ISCM event feel themselves free to make a capricious programme-planning which reflects their own and personal obsessions, something is wrong in corihn attitude, and, fundamentally, in their real relation with the spirit from which the ISCM was born. The train timetable caused problems in being on time for the attractive ‘Matines Electroniques’ in a good hall in the Folkwang Hochschule – in which the excellent, resourceful ‘overture’ was ‘Unknown Journey’ by Joshuha K.

Out of 5 electronic works, only 3 were done!

They had many misunderstandings in their mind: This is a very central point, because after the Essen deviation, others can feel themselves criun to do whatever they want, in spite of all what has been agreed – and this seems to be already the situation in Copenhagen Music is itself, as separate shelf, a European concept.