Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-78c5997874-4rdpn Total loading time: 0 Render date: 2024-11-12T22:34:00.768Z Has data issue: false hasContentIssue false

Part I - Tango Music

Published online by Cambridge University Press:  15 March 2024

Edited by
Kristin Wendland  and
Kacey Link
Kristin Wendland
Affiliation:
Emory University, Atlanta
Get access

Summary

A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
The Cambridge Companion to Tango , pp. 29 - 130
Publisher: Cambridge University Press
Print publication year: 2024

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Further Reading

Ahrens, Christian. “Free Reed.” In The Organ: An Encyclopedia, edited by Bush, Douglas E. and Kassel, Richard, 210–211. New York: Routledge Taylor & Francis Group, 2006.Google Scholar
Bush, Douglas E., and Kassel, Richard. The Organ: An Encyclopedia. New York: Routledge Taylor & Francis Group, 2006.Google Scholar
Heveling, Carsten. “Das Bandoneon.” Bandoneon, accessed July 27, 2021, https://bando-bando.de/verschiedenes/foto.html.Google Scholar
“History,” Accordions Worldwide, accessed July 24, 2021. www.accordions.com/history/acc_his.aspx.Google Scholar
Kerimov, Rauf. “Akordiyon ve Benzeri Armonikaların Tarihsel Gelişimi Üzerine Bir İnceleme.” Porte Akademik (Spring 2018): 87–101.Google Scholar
Krapovickas, Mercedes. “Organografía del bandoneón y prácticas musicales: Lógica dispositiva de los teclados del bandoneón rheinische Tonlage 38/33 y la escritura ideográfica.” Latin American Music Review (Fall/Winter 2012): 157–185.CrossRefGoogle Scholar
Montagu, Jeremy. “Concertina.” In The Oxford Companion to Music, edited by Latham, Alison, 288. New York: Oxford University Press, 2002.Google Scholar
Montagu, Jeremy. “Reed.” In The Oxford Companion to Music, edited by Latham, Alison, 1038. New York: Oxford University Press, 2002.Google Scholar
Sachs, Curt. The History of Musical Instruments. New York: Dover Publications, 2006.Google Scholar
Solis, Marcelo. “History of Tango – Part 5: The Appearance of the Bandoneon in Tango.” Argentine Tango School, accessed July 27, 2021, https://escuelatangoba.com/marcelosolis/history-of-tango-part-5.Google Scholar

Further Reading

Brown, Bill. 2015. Other Things. Chicago: University of Chicago Press.CrossRefGoogle Scholar
Cañardo, Marina. 2017. Fábricas de músicas: Comienzos de la industria discográfica en la Argentina (1919-1930). Buenos Aires: Gourmet Musical.Google Scholar
Denning, Michael. 2015. Noise Uprising: The Audiopolitics of a World Musical Revolution. New York: Verso.Google Scholar
Eidsheim, Nina Sun. 2019. The Race of Sound: Listening, Timbre, and Vocality in African American Music. Durham: Duke University Press.CrossRefGoogle Scholar
Luker, Morgan James. 2022. “Matrix Listening; or, What and How We Can Learn from Historical Sound Recordings.” Ethnomusicology, Vol. 66, No. 2, pp. 290-318.CrossRefGoogle Scholar
Possetti, Hernán. 2014. The Piano in Tango. Buenos Aires: Fondo Nacional de las Artes.Google Scholar
Rivadeneira, Tito. 2014. Ángel Villoldo en el inicio del tango y de los varietés. Buenos Aires: Editorial Dunken.Google Scholar
Silvers, Michael B. 2018. Voices of Drought: The Politics of Music and Environment in Northeastern Brazil. Champaign: University of Illinois Press.Google Scholar
Sterne, Johnathan. 2003. The Audible Past: Cultural Origins of Sound Reproduction. Durham: Duke University Press.Google Scholar
Suisman, David. 2009. Selling Sounds: The Commercial Revolution in American Music. Cambridge: Harvard University Press.CrossRefGoogle Scholar

Further Reading

Cadícamo, Enrique, and Adolfo Sierra, Luis. La Historia del tango: La época Decareana. Buenos Aires: Corregidor, 1977.Google Scholar
Del Priore, Oscar. El Tango: De Villoldo a Piazzolla. Buenos Aires: Editorial del Noroeste, 1975.Google Scholar
Del Priore, Oscar Toda mi vida (Aníbal Troilo). Buenos Aires: JVE, 2003.Google Scholar
Ferrer, Horacio, El libro del tango: Arte popular de Buenos Aires. Three volumes. Barcelona: Antonio Tersol, 1980.Google Scholar
Gobello, José. Breve historia crítica del tango. Buenos Aires: Corregidor, 1999.Google Scholar
Gobello, José Crónica general del tango. Buenos Aires: Fraterna, 1980.Google Scholar
Loriente, Horacio. Ochenta notas de tango: Perfiles biográficos. Montevideo: Ediciones de la Plaza, 1998.Google Scholar
Possetti, Hernán. El piano en el tango. Buenos Aires: Ediciones Tango Sin Fin, 2015.Google Scholar
Sierra, Luis Adolfo. Historia de la orquesta típica. Buenos Aires: A. Peña Lillo, 1976.Google Scholar
Zucchi, Oscar. El Tango, el bandoneón y sus intérpretes. Buenos Aires: Corregidor, 1998.Google Scholar

Further Reading

Astarita, Gaspar J. Abel Fleury: Vida y obra. Chivilcoy, Argentina: Editorial GraFer, 1995.Google Scholar
Barrera, José Sebastián. “La guitarra en el tango.” Trabajo final, Facultad Latinoamericana de Ciencias Sociales, 2016.Google Scholar
Burec, Lorena. Estilos guitarrísticos del tango en el Río de la Plata: Un siglo de historia. Buenos Aires, Argentina: Editorial Autores de Argentina, 2015.Google Scholar
Graciano, Julián. Método de Guitarra Tango. Buenos Aires: Melos, 2016.Google Scholar
Henríguez, Sebastián. La Guitarra En El Tango: Método Fundamental Para Aprender a Tocar Tango. Buenos Aires: Tango sin fin, 2018.Google Scholar
“La guitarra mayor del tango.” Los grandes del tango 1, no. 52 (October 1991): 6–35.Google Scholar
Plesch, Melanie. “The Guitar in Nineteenth-Century Buenos Aires: Towards a Cultural History of an Argentine Musical Emblem.” PhD diss., University of Melbourne, 1998.Google Scholar
Prat, Domingo. A Biographical, Bibliographical, Historical, Critical Dictionary of Guitars (Related Instruments), Guitarists (Teachers, Composers, Performers, Lutenists, Amateurs), Guitar-Makers (Luthiers), Dances and Songs, Terminology. Columbus, Ohio: Editions Orphée, 1986.Google Scholar
Priore, Oscar del. Toda Mi Vida: Aníbal Troilo. Buenos Aires: JVE Ediciones, 2003.Google Scholar
Ribot, Sara. “Aníbal Arias: La guitarra ha llegado a la Academia Nacional del Tango.” La Campaña. September 17, 1992, sec. Suplemento de tango y lunfardo.Google Scholar

Further Reading

Azzi, María Susana. “The Tango, Peronism, and Astor Piazzolla during the 1940s and 1950s.” In From Tejano to Tango, edited by Clark, Walter Aaron, 25–40. New York: Routledge, 2002.Google Scholar
Azzi, María Susana, and Collier, Simon. Le Grand Tango: The Life and Music of Astor Piazzolla. New York: Oxford University Press, 2000.Google Scholar
Brunelli, García, , Omar, ed. Estudios sobre la obra de Astor Piazzolla. Buenos Aires: Gourmet Musical, 2008.Google Scholar
Gorin, Natalio. Astor Piazzolla: A Memoir. Translated, annotated, and expanded by Fernando Gonzalez. Portland, OR: Amadeus Press, 2001.Google Scholar
Himshoot, Oscar. “Salgán – Interview to Horacio Salgán.” Todotango.com. Accessed September 24, 2022. www.todotango.com/english/history/chronicle/5/Salgan-Interview-to-Horacio-Salgan.Google Scholar
Piazzolla, Diana. Astor. Buenos Aires: Corregidor, 2005.Google Scholar
Salgán, Horacio. Arreglos para orquesta típica: tradición e innovación en manuscritos originales. Buenos Aires: Biblioteca Nacional and TangoVia, 2008.Google Scholar
Curso de Tango / Tango Course. Buenos Aires: Pablo J. Polidoro, 2001.Google Scholar
Sierra, Luis Adolfo. El tango romanza. Enrique Delfino, Juan Carlos Cobián, Francisco de Caro, Lucio Demare, Joaquí Mora, and Horacio Salgán. Buenos Aires: Academia Porteña del Lunfardo, 1987.Google Scholar
Ursini, Sonia. Horacio Salgán: la supervivencia de un artista en el tiempo. Buenos Aires: Corregidor, 1993.Google Scholar

Further Reading

Baker, David. How to Play Bebop. Vol. 1–3. Van Nuys, CA: Alfred Publishing Co., 1987.Google Scholar
Baker, David Jazz Improvisation. Van Nuys, CA: Alfred Publishing Co, 1983.Google Scholar
Bergonzi, Jerry. Inside Improvisation Series. Vol. 1–7. Rottenburg: Advance Music, 1994.Google Scholar
Coker, Jerry, Casale, James, Campbell, Gary, and Greene, Jerry. Patterns for Jazz. Miami, FL: Studio P/R, 1970.Google Scholar
Goldstein, Gil. Jazz Composer’s Companion. New York: Consolidated Music Publishers, 1981.Google Scholar
Graciano, Julián. El libro Real del Tango. Vol. 1–6. Buenos Aires: Melos Ediciones Musicales, 2020.Google Scholar
Pease, Ted. Jazz Composition: Theory and Practice. Boston: Berklee Press, 2003.Google Scholar
Rawlins, Robert, and Eddine Bahha, Nor. Jazzology: The Encyclopedia of Jazz Theory for All Musicians. Milwaukee, WI: Hal Leonard Co., 2005.Google Scholar
Reilly, Jack. The Harmony of Bill Evans. Brooklyn, NY: Unichrom Ltd., 1992–3.Google Scholar
Salgán, Horacio. Curso de Tango. Buenos Aires: Pablo J. Polidoro, 2001. Translated into English by Will Genz and Marisa Hurtado as Tango Course, 2nd ed., 2001.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×