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Title:The CLAEM and the construction of elite art worlds: philanthropy, Latinamericanism, and avant-garde music
Author(s):Herrera, Luis Eduardo
Director of Research:Turino, Thomas R.
Doctoral Committee Chair(s):Turino, Thomas R.
Doctoral Committee Member(s):Buchanan, Donna A.; Jacobsen, Nils P.; Solis, Gabriel; Taylor, Stephen A.
Department / Program:Music
Degree Granting Institution:University of Illinois at Urbana-Champaign
Subject(s):Latin American Music
Centro Latinoamericano de Altos Estudios Musicales (CLAEM)
20th Century Music
Alberto Ginastera
Di Tella Institute
Rockefeller Foundation
Gerardo Gandini
Francisco Kröpfl
Fernando von Reichenbach
Coriún Aharonián
Jorge Antunes
Rafael Aponte-Ledee
Jorge Arandia Navarro
Luis Arias
Blas Emilio Atehortúa
Enrique Belloc
León Biriotti
Cesar Bolaños
Gabriel Brnčić
Oscar Cubillas
Bruno D’Astoli
Mariano Etkin
Armando Krieger
Eduardo Kusnir
Alcides Lanza
Mesías Maiguashca
Ariel Martínez
Graciela Paraskevaídis
Mario Perusso
Salvador Ranieri
Miguel Angel Rondano
Iris Sangüesa
Luis María Serra
Alberto Villalpando
Abstract:In this dissertation I argue that the Centro Latinoamericano de Altos Estudios Musicales (CLAEM, 1962-1971) accurately exemplifies how the embrace of avant-garde art music by several young Latin American composers is crucial to understand the creation and consolidation of particular social groups often identified as elites. This dissertation is a concrete case study of how elites in a formation phase consolidate their status and achieve distinction by looking at the stories composers and patrons tell about themselves, their relation to the musical avant-garde, and discourses of Latin Americanism. By following, consuming, and rearticulating international musical models, the members of this art world—as patrons, composers, critics and listeners—engaged in a hegemonic process that resulted in their legitimization of new elites and the institutionalization of the avant-garde in Argentina. There are three key questions that I want to answer with this dissertation. First, how was the avant-garde articulated in Latin America, and in which ways did it respond or not to theories of avant-garde movements and modernity in the rest of the world? Second, how were composers during the 1960s engaging with discourses of Latin Americanism as professional strategy, identification marker and musical style? Third, what is the role of art in the legitimation and construction of elite status and identity? The case study of the CLAEM provides insight into three different aspects of music making, elite art worlds, and the embrace of the avant-garde in Argentina and Latin America during the second half of the twentieth century. These aspects become my main themes throughout the dissertation. The first theme involves the unique way in which composers at the CLAEM followed, consumed, and rearticulated international models of the avant-garde that were then embodied, resignified and institutionalized. The second theme explores how the CLAEM was a formative social experience, where transnational connections between actors who are part of the same cultural formation—both from Latin America as well as Europe and the United States—created important networks of solidarity, communication and intellectual exchange and resulted in the adoption of Latin Americanism as a professional strategy and musical style. Finally, this work explores the consolidation of elite groups and the creation of elite art worlds as the result of philanthropic efforts led by the Rockefeller Foundation and the Di Tella family.
Issue Date:2013-05-24
Rights Information:This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. Copyright 2013 Luis Eduardo Herrera
Date Available in IDEALS:2013-05-24
Date Deposited:2013-05

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