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Part I - Tango Music

Published online by Cambridge University Press:  15 March 2024

Kristin Wendland
Affiliation:
Emory University, Atlanta
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Publisher: Cambridge University Press
Print publication year: 2024

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References

Further Reading

Ahrens, Christian. “Free Reed.” In The Organ: An Encyclopedia, edited by Bush, Douglas E. and Kassel, Richard, 210211. New York: Routledge Taylor & Francis Group, 2006.Google Scholar
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Further Reading

Brown, Bill. 2015. Other Things. Chicago: University of Chicago Press.CrossRefGoogle Scholar
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Possetti, Hernán. 2014. The Piano in Tango. Buenos Aires: Fondo Nacional de las Artes.Google Scholar
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Further Reading

Cadícamo, Enrique, and Adolfo Sierra, Luis. La Historia del tango: La época Decareana. Buenos Aires: Corregidor, 1977.Google Scholar
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Further Reading

Astarita, Gaspar J. Abel Fleury: Vida y obra. Chivilcoy, Argentina: Editorial GraFer, 1995.Google Scholar
Barrera, José Sebastián. “La guitarra en el tango.” Trabajo final, Facultad Latinoamericana de Ciencias Sociales, 2016.Google Scholar
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La guitarra mayor del tango.” Los grandes del tango 1, no. 52 (October 1991): 635.Google Scholar
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Prat, Domingo. A Biographical, Bibliographical, Historical, Critical Dictionary of Guitars (Related Instruments), Guitarists (Teachers, Composers, Performers, Lutenists, Amateurs), Guitar-Makers (Luthiers), Dances and Songs, Terminology. Columbus, Ohio: Editions Orphée, 1986.Google Scholar
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Further Reading

Azzi, María Susana. “The Tango, Peronism, and Astor Piazzolla during the 1940s and 1950s.” In From Tejano to Tango, edited by Clark, Walter Aaron, 2540. New York: Routledge, 2002.Google Scholar
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Brunelli, García, , Omar, ed. Estudios sobre la obra de Astor Piazzolla. Buenos Aires: Gourmet Musical, 2008.Google Scholar
Gorin, Natalio. Astor Piazzolla: A Memoir. Translated, annotated, and expanded by Fernando Gonzalez. Portland, OR: Amadeus Press, 2001.Google Scholar
Himshoot, Oscar. “Salgán – Interview to Horacio Salgán.” Todotango.com. Accessed September 24, 2022. www.todotango.com/english/history/chronicle/5/Salgan-Interview-to-Horacio-Salgan.Google Scholar
Piazzolla, Diana. Astor. Buenos Aires: Corregidor, 2005.Google Scholar
Salgán, Horacio. Arreglos para orquesta típica: tradición e innovación en manuscritos originales. Buenos Aires: Biblioteca Nacional and TangoVia, 2008.Google Scholar
Curso de Tango / Tango Course. Buenos Aires: Pablo J. Polidoro, 2001.Google Scholar
Sierra, Luis Adolfo. El tango romanza. Enrique Delfino, Juan Carlos Cobián, Francisco de Caro, Lucio Demare, Joaquí Mora, and Horacio Salgán. Buenos Aires: Academia Porteña del Lunfardo, 1987.Google Scholar
Ursini, Sonia. Horacio Salgán: la supervivencia de un artista en el tiempo. Buenos Aires: Corregidor, 1993.Google Scholar

Further Reading

Baker, David. How to Play Bebop. Vol. 1–3. Van Nuys, CA: Alfred Publishing Co., 1987.Google Scholar
Baker, David Jazz Improvisation. Van Nuys, CA: Alfred Publishing Co, 1983.Google Scholar
Bergonzi, Jerry. Inside Improvisation Series. Vol. 1–7. Rottenburg: Advance Music, 1994.Google Scholar
Coker, Jerry, Casale, James, Campbell, Gary, and Greene, Jerry. Patterns for Jazz. Miami, FL: Studio P/R, 1970.Google Scholar
Goldstein, Gil. Jazz Composer’s Companion. New York: Consolidated Music Publishers, 1981.Google Scholar
Graciano, Julián. El libro Real del Tango. Vol. 1–6. Buenos Aires: Melos Ediciones Musicales, 2020.Google Scholar
Pease, Ted. Jazz Composition: Theory and Practice. Boston: Berklee Press, 2003.Google Scholar
Rawlins, Robert, and Eddine Bahha, Nor. Jazzology: The Encyclopedia of Jazz Theory for All Musicians. Milwaukee, WI: Hal Leonard Co., 2005.Google Scholar
Reilly, Jack. The Harmony of Bill Evans. Brooklyn, NY: Unichrom Ltd., 1992–3.Google Scholar
Salgán, Horacio. Curso de Tango. Buenos Aires: Pablo J. Polidoro, 2001. Translated into English by Will Genz and Marisa Hurtado as Tango Course, 2nd ed., 2001.Google Scholar

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