Fr. 180.00

Villa-Lobos and Modernism - The Apotheosis of Cannibal Music

English · Hardback

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Description

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Ricardo Averbach places Heitor Villa-Lobos as the top exponent of Cultural Cannibalism in music, an aesthetic movement that has been neglected due to traditional Eurocentric views of Modernism. Villa-Lobos and Modernism shows how much our present aesthetics owes to the Modernist ideas introduced by the Brazilian composer.

List of contents










Acknowledgments
Preface
Chapter 1: The Anthropophagic Aesthetic
Chapter 2: Villa-Lobos, the "Cannibal who Wore Tails"
Chapter 3: The Sad Clowns of Carnival: Polichinelo and Petrushka
Chapter 4: Taking Flight with Two Ballet Birds: Uirapuru and Firebird
Chapter 5: Dissecting Uirapuru
Chapter 6: Breaking Treaties: Amazonas and Le Sacre du Printemps
Chapter 7: Diving into the Amazonas
Chapter 8: Towards a New Assessment of Villa-Lobos
Chapter 9: The Influence of Surrealism in Villa-Lobos's Modernist Works
Appendix 1: The Anthropophagous Manifesto: An Annotated Translation
Appendix 2: Glossary of Musical Terminology
Bibliography
About the Author


About the author










Ricardo Averbach is director of orchestral studies at Miami University and past president of the College Orchestra Directors Association.


Summary

Ricardo Averbach places Heitor Villa-Lobos as the top exponent of Cultural Cannibalism in music, an aesthetic movement that has been neglected due to traditional Eurocentric views of Modernism. Villa-Lobos and Modernism shows how much our present aesthetics owes to the Modernist ideas introduced by the Brazilian composer.

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