BEGIN:VCALENDAR VERSION:2.0 PRODID:-//events.la.psu.edu//EN CALSCALE:GREGORIAN BEGIN:VTIMEZONE TZID:America/New_York BEGIN:STANDARD DTSTART:20201101T020000 TZOFFSETFROM:-0400 TZOFFSETTO:-0500 RRULE:FREQ=YEARLY;BYMONTH=11;BYDAY=1SU END:STANDARD BEGIN:DAYLIGHT DTSTART:20200308T020000 TZOFFSETFROM:-0500 TZOFFSETTO:-0400 RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=2SU END:DAYLIGHT END:VTIMEZONE BEGIN:VEVENT UID:3435-920cda6ece764b396ee77537fd9f015b@events.la.psu.edu DTSTAMP:20260308T161304Z DTSTART;TZID=America/New_York:20230328T110000 DTEND;TZID=America/New_York:20230328T110000 SUMMARY:“Origins in Tradition: Carlos Chávez at the MoMA” with Marco A. Martínez DESCRIPTION:\nHumanities Institute Faculty Scholar in Residence\, Spring 2023\n\nIn the summer of 1940\, the Museum of Modern Art in New York (M oMA) held the exhibition \;Twenty Centuries of Mexican Art. \;In combination with the exhibition\, MoMA sponsored a program of Mexican m usic arranged by Mexican composer and director Carlos Chá\;vez. Th e composer aimed to represent in his program the various musical culture s and traditions of Mexico and their historical evolution from an imagin ary Aztec music performed with original instruments (Xochipilli-Macuilxo chitl) to orchestral arrangements of \;corridos\, \;sones\,  \;and \;huapangos. The program presented a historicist and teleologi cal vision that corresponded to official post-revolutionary discourse an d\, in turn\, sought to insert Mexican music within the Western Canon. A nalyzing the funding\, musical selections\, and reviews of these concert s\, Marco A. Martí\;nez demonstrates Chá\;vez&rsquo\;s signi ficance in the New York modernist musical scene\, as well as his role as spokesperson and official translator of exported Mexican musical nation alism. Martí\;nez proposes that Chá\;vez translates a saniti zed version of Mexican music infused with an idea of authenticity for a North American audience by integrating Indigenous musical instruments an d practices with cosmopolitan sophistication in arrangements of traditio nal pieces for the chamber orchestra. \;\n\nFor more details: https: //events.la.psu.edu/event/hi_marco-a-martinez/ X-ALT-DESC;FMTTYPE=text/html:

Humanities Inst itute Faculty Scholar in Residence, Spring 2023

In the summer of 1 940, the Museum of Modern Art in New York (MoMA) held the exhibition&nbs p;Twenty Centuries of Mexican Art. In combination with the e xhibition, MoMA sponsored a program of Mexican music arranged by Mexican composer and director Carlos Chávez. The composer aimed to repre sent in his program the various musical cultures and traditions of Mexic o and their historical evolution from an imaginary Aztec music performed with original instruments (Xochipilli-Macuilxochitl) to orchestr al arrangements of corridos, sones, and&nbs p;huapangos. The program presented a historicist and teleological vision that corresponded to official post-revolutionary discourse and, in turn, sought to insert Mexican music within the Western Canon. Analyz ing the funding, musical selections, and reviews of these concerts, Marc o A. Martínez demonstrates Chávez’s significance in the New York modernist musical scene, as well as his role as spokesperso n and official translator of exported Mexican musical nationalism. Mart& iacute;nez proposes that Chávez translates a sanitized version of Mexican music infused with an idea of authenticity for a North American audience by integrating Indigenous musical instruments and practices wi th cosmopolitan sophistication in arrangements of traditional pieces for the chamber orchestra. 

For more details: https://eve nts.la.psu.edu/event/hi_marco-a-martinez/

URL:https://hi.psu.edu/initiatives-and-programs/resident-lecture-series/ END:VEVENT END:VCALENDAR