Work inspired (and increased) to that of Delphine Bordat (professor of music education, Orléans-Tours).

Astor Piazzolla and the TangoThe music of Argentina Buenos Aire

Preamble� � �

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We talk about the tango as dance, music and poetry. The tango was born in Argentina between Buenos Aires and Montevideo. The result of interbreeding between European dance (waltz, polka, mazurka), Latin American (condombe), Caribbean (calenda) and African influences. He was born in the immigrant community and specifically in brothels. Then itself alongside the salons, theaters, cafes and nightclubs opening up to wealthier classes.

May SOM ER� � � � � � �

INTRO ductio N HISTO IRE OF THE TAN TAN GO GO U DO THE DANCE MU SIQ EU NGO TA CU LTU RE TAN THE GO ALL Astor PI Azzo (1921 - 1992) So urce

INTR ODU CTI ON�

The origins of the Tango, it yd'abord a liturgical dance from Africa called Xango black (like Calenda Candomblé, Chicha, the Bamboula or Samba). This dance derives Xango: god of iron and war in Yoruba mythology (people of West Africa today set in the south-western Nigeria, Benin and Togo). Deported en masse in the wake of colonization based on the slave system before being murdered in Argentina in 1870 imposed the black musical rhythms that would also become the Tango. In the structure of the Tango, it is also a rhythm on the North African Moors who interpreted a particularly sensual dance. Transported to Spain by the Arab conquerors, this dance was considered obscene and was banned in Catholic states. From the 15th century, this musical style was perpetuated by gypsies before accompanying Spanish immigrants in America. This binary rhythmic and syncopated habanera called in Cuba is found in the Argentine Tango. It was agreed that the Tango was born in 1898 in Buenos Aires (the name of Our Lady of Bon Air, patron saint of sailors Seville) and Montevideo.

Buenos Aires�

Buenos Aires 1880: emigrants from all parts arrive with the idea in mind of making a fortune. Most of time, are single men from Italy, Spain, Poland, Germany, joined by farmers from all over South America. End 1880 Capital Federal has about 3.5 million migrants worldwide. All live on the edge of the city in an area called the "Arrabal" and housed in large buildings of the type barracks (the conventillos). Here are found all the misery behind-the city, thieves, prostitutes.

HIST OF RE IO TA NGO��

BeginningsThe original instrumental and the invention of a musical style

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1900-1915 1915-1920 20 Years The 30s The 40s The 50s

Beginnings�

At the end of last century, Argentina was inhabited by 1,600,000 people and had thus great need of people. The government promised to immigrant labor, and even the earth. So many dreams and hope for the thousands of Europeans who attempted the adventure in this new Eldorado. People who came all had the same dream: a piece of land of their own. But he had become disillusioned, a hundred families Argentine had already shared all the earth. Apart from seasonal work at harvest or handling on the docks of the port of Buenos Aires, they did not find much. Here, in the slums of Buenos Aires, the tango was born in 1898, resulting from the blending of African and Latin rhythms. Through dance, it allowed people from working class backgrounds to externalize and to forget the harsh realities of daily life at that time. The tango is almost always plaintive and wistful. He can be spiteful, satirical, sarcastic, humorous, discontent and despair. It can conceal his anguish under the mask of derision but has little to do with this happy, the euphoria of celebration, the outpouring hilarious. Unlike the African-American music, the tango is more serious chosen, acerbity. He says that saddens the disappointments that fate inflicts, he expresses the pain of living, and sings what is lost forever. Therefore Enrique Discépolo defined as "a sad thought that is danced.

Beginnings�

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At its inception, the Tango was played mostly in the slums of the port of Buenos Aires. It was the sailors who brought back the Tango in Europe, and which propagated from port to port. Discovered in 1910 in Paris, he became the rage in fashionable salons, but considered indecent, it is blacklisted by the Archbishop of Paris. In Europe,�Tango has quickly differentiated interpretation Argentine remains marked by sadness and Latin sensuality. A dance performed by the rabble guapos (the hoodlums) suburbs.

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We saw that the word tango in Argentina were to designate multiple dances. In 1880, the musical, more music will be the fairy that will allow the invention of the tango rhythm and songs. Their influences are different, but exist.�

The original instrumental and the invention of a musical style

Many authors report the interpenetration between the musical Andalusian tango and habanera rhythm. Often habaneras are entitled tangos.

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Between 1880 and 1900, although the word tango is needed is the rhythm of the habanera, which supersedes that of slowly tango Andaluz.As a first tango, it keeps only a few verses. The transformation that occurs when, from a local substrate in which the black influence is not negligible, owes much to the influence of Italian immigration and its specific experience of dance music. Most of the first musicians do not read music. They play by ear. Consequently, there was no written record of the historic change taking place (it's the same with the waltz. The musicians were slow to write and even longer to edit t

heir music). � It is known that music is invented, gets most of its structure of three influences: the habanera, milonga and candombé black. According Tanguero Viejo, the first black musicians were: El Negro Casimiro, El Mulato Sinforoso (clarinet), El Pardo (bandoneon). The few words that remain of the first tango show they were sung in brothels. But from the early 20th century, singing became a professional artist and willingly included tangos in their repertoire. Villoldo composed music and lyrics of the songs he sang. Among the singers of the time, Flora (Chilean) and Alfredo Gobbi, Dorita Miramar, Linda Thelma, Arturo Mathon and the famous Pepita Avellaneda (Josefina Calatti).�

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1900-1915�

Old Guard. In the brothels in the suburbs. Payador (poets who improvise lyrics in rhyme). Gregorio Villoldo (18681919, payador and guitarist) symbol of a generation. Alfredo Gobbi (1877-1938).� �

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� Gobbi will universalize the tango 1910: export to Europe (Paris in particular) training � most common: "Orquestra tipica criolla = flute, guitar, violin, bandoneon. � introduction of bandoneon in 1908.Listen: El Choclo Tango Angel Gregorio Villodo. This famous tango was written (words and music) by Villoldo in 1905 that recorded in 1910. Recorded here in 1913 by the Orquestra tipica porteña was directed by Eduardo Arolas (bando) with Eduardo Ponzio (violin) and Leonardo Thompson (black guitarist who will then bass). The habanera rhythm is formed by the bass playing the guitar. Listen: The Angel of Tango Bicicleta Villodo Gregorio, played by Villodo (vocals) and Manuel O. Campoamor (piano). Recorded in 1909: one of the first tango recorded. We note the rapid pace of habanera and dry and the influence of Spanish zarzuela music by melody and the use of castanets.

1915-1920�

transition. Roberto Firpo (1884-1819, piano). Music more complex.� �

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� Canaro Francis (1888-1964) systematize the bass (which sets the tempo) � born in 1913 in Buenos Aires the "Orquestra tipica" (in the tavern El Armenonville) when Firpo incorporates his instrument to tango musicians around 6 ( piano, 2 violins, 2 bass and bandoneon). The arrival of the piano in sedentary tango halls. � Firpo great conductor has repurchased, Gerardo Hernan Matos Rodriguez, the copyright of Cumparsita (The small band) for a pittance. Gerardo Hernan Matos Rodriguez, who was a young Uruguayan pianist has composed this famous classic tango to the age of 19 years ...Listen: The Tango cumparsita Gerardo Matos Rodriguez. Made famous tango in Montevideo, it was recorded in 1917 by the tipica Orqestra Alonso-Minotto. Composed of three themes, like most of the guardia vieja tangos, its rhythmic structure hesitates between the habanera and a four-stroke marcato.

The 20s�

Guardia Nueva (= New Guard). Julio De Caro (1899-1819, leader of the New Guard). Osvaldo Nicolas Fresedo (1897-1984, invents new effects: staccato pianissimo). Renovation of tango: removed all references to brothels, quieter pace. In the chic salons.�Complexity of polyphony (counterpoint). Music written.� �

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� De Caro codified tango, involving the synthesis between past and present: "I wanted the Tango belongs to the best musical category, giving it color and interpretation appropriate to ennoble it, respecting its originality" � De Caro invented a style of interpretation of a new wealth: each instrument has a dual role (individual and collective). Tango = succession of solos bandos and violins, the cb handles the formal basis and piano built bridges and openings. � tipica Orchestra expands to about 12 musicians.Listen: The Tango viruta Vicente Greco. Orlando and his band of Baghdad, recorded November 9, 1933. Evidence of a tango very Parisian chic ... There is research point of view of writing and polyphonic effects.

The 30s�

Tango-cancion (= tango-song). The tango is singing ("tango rose from the feet to his lips," Discépolo). Carlos Gardel (1890-1935, recorded 900 discs!). Sentimentalism. Tube: popularization of music by the disc. In the cafes and cabarets.�

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� 1917: first sung tango Mi Noche Triste (My Sad Night): text of Pascal Contursi (1888-1932) and music by Samuel Castriota. � 1930: Great Depression (social crisis) + 1935: death of Gardel � total crisis!Listen: Mi Noche Triste Tango S. Castriota and P. Contursi. Performed by Carlos Gardel. Guitars: JM Aguilar, G. D. Barbieri, D. Riverol. Considered the first tango cancion. Sung by Gardel in public in 1917. Recorded in 1930.

The 40s�

Turn. Anibal Troilo (1914-1975, back to basics: dance, but does not reject the song). Music very complex, virtuoso. Themes short. Golden Age of tango.� �

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� Troilo requires cello and viola. It is nicknamed the "soul of the bandoneon" and was the "Gardel musicians. � 1946: arrival of Juan Peron (1895-1974) to the presidency: the greatest lyricists (Cátulo Castillo, Homero Manzi, Enrique Santos Discépolo) convert to Peronism. � return to music and dance as lyricists are limited by the censorship (the Argentine military coup in 1943) because the lyrics were deemed "unsuitable" indecent: it bans the slang (lunfardo) and is transformed the tango lyrics, sometimes it prohibits outright. But the tango was freed of censorship in 1949 as fully accepted by Peronism (but relapse coincides with that of Perón in 1955) ...Listen: On Tango Homero Manzi and Anibal Troilo, composed in 1948. Portrayed by Susana Rinaldi accompanied by Juan Carlos Cuacci who also heads the orchestra.

Listen: The Tango Osvaldo Pugliese Yumba interpreted here by the orchestra of Ar

mando Pontier and Enrique Francini Elvino Vardaro who was with one of the best violinists in the history of tango. Recorded between 1946 and 1950. Style Yumbes: game mode tango with low marked the first time on cluster + piano on the second time. With the bass in glissando. The music ends almost on the dominant chord (we only hear a little tonic to the bass in grade pp) ...: a suspension in the movement as in dance (Figure corte)

The 50s�

revolution Piazzolla (1921-1994). The tango is the dance off and becomes a genre in itself.�

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� tango becomes the "contemporary music of Buenos Aires" � It mixes with other currents (symphonic, experimental, rock, jazz band ...).Listen: The Tango llamo Silbando Horacio Salgan interpreted in the style canyengue composer and his Orquestra tipica. Recorded in 1952. Listen: The Tango Emilio Balcarce Bordona interpreted by the trio Mosalini Juan Gustavo Beytelmann, Patrice Caratini. Recorded in 1982. A very successful modern versions of this standard revisited by three strong musical personalities.

THE TANG O, A DANCE� �

Tango: Dance of manly strength, sexual desire, but especially dance great nostalgia. At the end of the 19th century alone saw the music, the tango has not yet sung text. Obviously, this new dance is totally rejected by polite society porteña and the bourgeoisie. The dance is characterized by:� � �

a significant harmonization between the dancers perpetual improvisation (multiple figures) suspension in motion. � "tango of the suburb" or canyenge: very "roots", near the origin, while Loved hip movements and provocative. � "tango elegance and compás" or elegencia: the most complex, danced in the salons. � "fantasy tango" or Fantasia: has created the tango show, the stage�projectors ... Imagination and complex figures subject to the rules of improvisation. Tango demonstration requires great virtuosity of the dancers ...

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3 styles of tangos danced:� � �

THE ICU QU E M O TANG� � � � � � �

Introduction The introduction of the bandoneon orchestra The three types of tango music in a minor's place singing Conclusion

In tr oduction� �

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If the tango is a dance first, then it is music. From the point of view of rhythm, the tango is linked to the contra Cuba, the Cuban habanera and the tango. The latter, together with the habanera, has spread across Latin America in the year

s 1850-1860. In Brazil, as well as in the Rio de la Plata, the name was given to the Tango Habanera itself during the latter part of the 19th century. The tango began as Brasiliero anything other than a local adaptation of the Cuban habanera. Several popular genres, including maxixe, have a common measure to two quarters with the accompanying drawings similar to those of the European polka. The milonga, two-stroke and syncopated rhythm, also contributed to the structure of a tango. Until 1915, the tango keeps the measure in two (2 / 4), after which the four quarters and four eighths become more frequent. After 1955, new rhythmic complexities grew. From a structural standpoint, the first tangos include three parts, but after 1915 the tango in two parts predominates. Delfino is considered the first composer to have established the standard form of tango: two equal measures of 14-20, the second party in the dominant or relative minor of the tonic.

Orchestra�

Before 1900, the first tango orchestras were composed of a guitar, a violin and a flute. The harp could aiso be present.�

Ventura Lynch, in his book of 1883, writes that "today means the milonga played the guitar on comb and paper by itinerant musicians, flute, harp and violin. It has also been adapted by the barrel organ players, who settled in habanera ".

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These bands were very mobile. They moved easily from one brothel to another. They could thus play all night. By 1900, when the tango began to win acclaim, or rather when prostitution became a business where you invest more, the piano took place in the orchestra. Institutions of fun, then a cabaret volunteered upright or grand. This movement is massive, because it enters in Buenos Aires more than 18 000 pianos from 1901 and 1907. Institutions clave services of a pianist. The poorest had a Organito, piano or organ.

The orchestras are established�

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For many years, some schools of Buenos Aires have specialized in hosting musicians that you just listen to without dancing. This is the case of Hansen. Before 1892, they played milongas, waltzes and polkas, and then we brought the tango. Contrary to what the film suggests to us (several reconstructions show that they danced at Hansen), this property is specialized in the music of tango. They made a sort in orchestras. In 1892, an Italian, Anselmo A. Tarana, took the leadership. He gave her the style of the Belle Epoque. He sent an orchestra of Milan. Roberto Firpo played there in 1907. We had dinner at Hansen comfortably and listen to good music. In fact, the school was surrounded by many places where people danced. And in these institutions, orchestras were also considered. At the El Tambo o Tambito, Jose played Guerriero (flute), Julian Urdapilleta (violin) and Luciano Rios (guitar); to El Veladromo, played Enrique Saborido (violin, but who could also keep the piano), Benito Masset (flute) and the Black Lorenzo (guitar).

The orchestras are established�

Just before 1900, we began writing the scores of tango and edit them. These early scores reach prints 20-30 000. But there were also pirated editions sold three

times cheaper. We know that the phonograph was invented in 1877, and that it could boost the vote in 1888. The development of the tango is therefore linked to the development of recording technology. There are many recordings of tangos before 1907, but quality very bad. In 1907, Villoldo Gobbi and go to Paris to record. They leave El paisano en el tranvia, Minegra, Carino criollo, Los afiladores El baile Da Baldomera, Cancion del bicho feo,�all topics Villoldo. The year 1907 was a turning point since it publishes copies of these tangos Berlin Candem (United States) and Sao Paulo (Brazil) ...

The three types�

From a musical point of view, three types of Tango may be distinguished: the tango, milonga, tango and tango-romanza-cancion.�

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The tango-milonga is strictly instrumental and has a very strong rhythmic character. The classic example is the tango Buedo (1928) by Julio De Caro. The tango-romanza, whether instrumental or vocal, is more lyrical and melodic, and contains a strong romantic text. One of the best known is Flora negras (1928) by Francisco De Caro. Tango-cancion, as its name suggests, is always vocal with instrumental accompaniment. It has a strong sentimental character. This type of tango corresponds, in the 1930s, a sociological evolution, the tango became a popular genre of large city that is no longer simply associated with the slums of the suburbs. The tango lyrics, songs, however, express the life in terms highly pessimistic, fatalistic and often pathologically dramatic. Some of the best examples are tangoschansons Mi noche triste Catriosta Samuel (1915), Adios Muchachos Julio Cesar Sanders (1928), by Enrique Delfino Milonguita (1920) and Anibal Troilo On (1948).

A music minor�

Unlike the 19th century waltzes that were most often in the major, well argued and a joie de vivre, the tango is part of a shift toward the minor giving it its sad side. We know that the waltz musette, Paris, will feature the same trend.

The role of song�

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Initially, the tango is a music conductor. But soon they sing. The lyrics are very daring (see CULTURE TANGO). Also, it is men who sing. From The Morocha, whose lyrics are decent singers have found their place in the tango, the tango, or rather to find its place in the repertoire of singers. So Lola Candal, 1907. Pepita Avellaneda remained the most famous singer of the early history of the tango. The photos show one's self of a "cap in hand, a pleated skirt, white socks and act innocent on another, she is dressed as a boy with a scarf around his neck, a cigarette in his mouth and a guitar on his knees. " There was also Flora Rodriguez (Gobbi's wife) and Linda Thelma who popularized the tango in Paris (Thelma L. at the Moulin Rouge). But overall, with few exceptions, remained very long tango music of men.

Conclusion� The

music is characterized by:

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duple (2 / 4, 4 / 4, 4 / 8) � a binary structure: AB (B is often the dominant or relative) minor keys �

LA CU Ituri E TANG O� �

A component of tango culture is linked to language, literature and poetry. The first influence is that of payador these improvisers, capable of producing a daily poetry, verse. This cultural tradition is an Argentine tango as the origins of popular mode of expression.An erotic poetry, or rather a literature brothels ... Lunfardo, Slang from Buenos Aires The sentimentality Pascal Contursi Homero Manzi and the revival

An erotic poetry, literature, or rather a brothel ...�

The first words of milonga or tango as we know from the later years of the 19th century and often bear traces of the places where they were sung: the brothels. Genitalia, physical prostitutes, sex are mentioned explicitly in terms quills or pornographic.�

Example: Con que no trompieza that underresourced (= What is it that it does not fit).

Lunfardo, Slang from Buenos Aires�

Lunfardo slang is a language used in 1860 by thieves who wanted to communicate with each other without being understood by the police. Journalists and people appropriated this language that permeated the tango ...

The sentimentality of Pascal Contursi�

1917: Gardel Mi noche triste interpreter Pascal Contursi (1888-1932, lyricist). Make a break in the history of tango: suburban poetry gives way to sentimentality (texts written around the idea of chronic neglect, unrequited love, urban life).

Homero Manzi: renovator�

Manzi (1905-1951) was the first great poet of tango. In 1940, he was the innovator of the tango, inventing modern texts: he gives in honor of milonga rhythm just forgot for which he finds appropriate words (language stripped and popular).

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Astor PIA ZZOLLA (192,192) in March 1921.�He was born in Mar del Plata, Argentina 11His father bought him his first accordion at age 8 years. Soon, he fits into popular tango orchestras, including that of which he will arrange for Troilo. But he sought to break free from traditional tango and away from the Argentinian master. He took courses in conducting and harmony with Nadia Boulanger in Paris. It

will combine the traditional language of the tango and aesthetics Symphony Symphony since 1953 in Buenos Aires (scandal at its inception: the police came and arrested the room ruckus total). Throughout his life, he shows that the tango music does not need to dance or speech. He makes music full by applying musical forms and techniques normally devoted to other musical styles: fugue, counterpoint, rhythm, improvisation. It is film music (Tango, the Exile of Gardel, Fernando On Solas family of artists Alfredo Arias). Also, he created the tango-opera (Maria de Buenos Aires). It mixes with the traditional orchestra electric guitar, bass, drums and the sound works experimentally. It moves away from this rock tone to attract more specifically jazz recording with saxophonist Gerry Mulligan. After a cerebral hemorrhage occurred in 1990, after which it remains paralyzed, he died June 4, 1992, leaving about 1,000 works.

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The introduction of the bandoneon� �

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In 1908, the bandoneon (which had first appeared in 1898 in a tango orchestra) is required. This event is important because, by replacing the flute flourishes disappeared, and with her playful and flashy style, the tango orchestra found its identity plaintive and sentimental. "The bandoneon moans, groans, bellowing, crying, claw, roar, threatens, bites and pray it ignores the laugh and knows not afford a moment of joy. "Technically, Oscar R. Zucchi defines it thus: "The accordion is a portable aerophone with buttons, powered by bellows, playing with both hands simultaneously, with two crates and harmonics within which vibrates through the action of air pressed, a system of metal strips. The chromatic accordion produces the same note at the opening and closing the bellows. The diatonic accordion, with greater opportunities, is that adopted by the professional tango and it varies depending on whether the phrase is played open or closed, producing assonance or dissonance. The bandoneon is an instrument of German origin. It is named after Heinrich Band, was born in 1821 in RhénanieWesphalie (Germany) who will market it, even if he did not invent it. His real designer is C. Zimmermann, who presented a concertina made Carlsfeld the industrial exhibition in Paris in 1849. H. Band mod this invention was never patented. Since 1864, Ernst Louis Arnold (1828-1910) who purchased the business of Zimmermann (d. 1860) who will become the true master of the bandoneon. His family is a veritable dynasty of factors bandoneon. Ernst Hermann (1859-1946), his eldest son, Paul (1866-1952) and Alfred (1878-1933), two other son, will continue the work of the father. The two young brothers are developing the AA, said Doble A, which prove to be the best bandoneon history. Astor Piazzolla moreover dedicated to his instrument a composition of a Tristezas Doble A. Horst Alfred (1905-1979), son of Alfred, and Arno (1893-1970), son of Paul, continued the business until the late 1940s. But the company gradually loses its importance and workshops closed in 1971. This company has had few competitors in Germany, Argentina and the United States. But today, the number of artisans capable of producing or repairing bandonions is very rare.

II exists in France: Olivier Manory himself bandoneonist talent. Pierre Monette notes that "the phrasing of the bandoneon is able to present a range of modulations as large as that of the human voice." This author sees as the saxophone as an instrument with a sound similar registry. The saxophone plays elsewhere in the jazz orchestra's role in the bandoneon tango orchestra. In 1910, the orchestra is typical of the tango, the musical style is based. Party of the trio, it develops gradually. From 1914, Firpo gave up in his orchestra, violin, flute which balances the sound of piano, bass. In 1917, the sextet becomes the usual orchestra. In the 1940s, the orchestra will go up to eleven musicians.

SOURCES� �

HESS Remi, The tango�Paris: PUF, 1996. PLISSON Michel, Tango, from black to white, Paris: Actes Sud, 2004.http://www.ac-orleans-tours.fr/musique/histoire_tango.htm

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