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Elite Art Worlds : Philanthropy, Latin Americanism, and Avant-garde Music

By: (Author) Eduardo Herrera

Manufacture on Demand

Ksh 15,250.00

Format: Hardback or Cased Book

ISBN-10: 0190877537

ISBN-13: 9780190877538

Series: Currents in Latin American and Iberian Music

Publisher: Oxford University Press Inc

Imprint: Oxford University Press Inc

Country of Manufacture: US

Country of Publication: GB

Publication Date: Oct 22nd, 2020

Print length: 228 Pages

Weight: 554 grams

Dimensions (height x width x thickness): 16.40 x 24.30 x 2.30 cms

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Elite Art Worlds tells the story of the Centro Latinoamericano de Altos Estudios Musicales (CLAEM) in Buenos Aires, the epicenter of Latin American avant-garde music in the 1960s. Looking at CLAEM as both an artistic and philanthropic project connecting Argentina and the United States, author Eduardo Herrera traces transnational webs of financial and aesthetic influence during the Cold War.
The Centro Latinoamericano de Altos Estudios Musicales (CLAEM) in Buenos Aires operated for less than a decade, but by the time of its closure in 1971 it had become the undeniable epicenter of Latin American avant-garde music. Providing the first in-depth study of CLAEM, author Eduardo Herrera tells the story of the fellowship program--funded by the Rockefeller Foundation and the Di Tella family--that, by allowing the region''s promising young composers to study with a roster of acclaimed faculty, produced some of the most prominent figures within the art world, including Rafael Aponte Ledeé, Coriún Aharonián, and Blas Emilio Atehortúa. Combining oral histories, ethnographic research, and archival sources, Elite Art Worlds explores regional discourses of musical Latin Americanism and the embrace, articulation, and resignification of avant-garde techniques and perspectives during the 1960s. But the story of CLAEM reveals much more: intricate webs of US and Argentine philanthropy, transnational currents of artistic experimentation and innovation, and the role of art in constructing elite identities. By looking at CLAEM as both an artistic and philanthropic project, Herrera illuminates the relationships between foreign policy, corporate interests, and funding for the arts in Latin America and the United States against the backdrop of the Cold War.

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