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Elite Art WorldsPhilanthropy, Latin Americanism, and Avant-garde Music$
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Eduardo Herrera

Print publication date: 2020

Print ISBN-13: 9780190877538

Published to Oxford Scholarship Online: October 2020

DOI: 10.1093/oso/9780190877538.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2022. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use.date: 28 January 2022

Embodied Avant-garde(s)

Embodied Avant-garde(s)

A Way of Being in the World

(p.105) 5 Embodied Avant-garde(s)
Elite Art Worlds

Eduardo Herrera

Oxford University Press

This chapter uses CLAEM as a window into how musical avant-gardism was understood and experienced. The chapter provides a thick description of how different CLAEM fellows engaged with a wide range of practices that were ultimately manifestations of avant-garde desires. It argues for a plural understanding of the avant-garde and its diverse reception which included life-long embrace, temporary adoption, gradual disillusionment, and even intolerant rejection. The chapter portrays the broad meaning of CLAEM participation for many composers in the musical avant-garde: it meant working within certain aesthetic ideals and extending these ideals to everyday practice as part of fluid and rich identities. These composers went well beyond writing music to militantly organizing events, promoting works, musicological writing, and teaching.

Keywords:   embodiment, Mariano Etkin, Graciela Paraskevaidis, serialism, electroacoustic music, Eduardo Kusnir, Ariel Martinez, musical militancy, Grupo de experimentacion musical, improvisation

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