Crossovers and borrowings between tango and cuarteto in Patio de tango (1975)
In 1975 Cuarteto de Oro recorded the album Patio de tango through the Philips Records label, becoming an exception due to the repertoire chosen in relation to previous works. With two references cordobese tango, such as Edmundo Suárez on piano and Abel Lizárraga on violin, and accompanied by Gerardo...
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| Lenguaje: | Español |
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Universidad Nacional del Litoral
2025
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| Acceso en línea: | https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/index/article/view/14487 |
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I26-R133-article-144872025-09-26T17:37:42Z Crossovers and borrowings between tango and cuarteto in Patio de tango (1975) Cruces y préstamos entre el tango y el cuarteto en Patio de tango (1975) Disandro, Ana Belén Tango cuarteto musical analysis relocation Tango cuarteto análisis musical relocalización In 1975 Cuarteto de Oro recorded the album Patio de tango through the Philips Records label, becoming an exception due to the repertoire chosen in relation to previous works. With two references cordobese tango, such as Edmundo Suárez on piano and Abel Lizárraga on violin, and accompanied by Gerardo Daher on accordion, Raúl Rosell on bass and the voices of Néstor Raúl López, alias Coquito Ramaló, and Carlos Jiménez, they address classics of Rio de la Plata tango and include the waltz «Mi ambición» by Cristino Tapia from Cordoba. The objective of this work is to analyze, from the musicology perspective, the proposed arrangements, problematizing the compositional resources, arrangement and performative that dialogue in a scenario of borrowings and crossovers between both genres. The musical characteristics of the traditional style, as named by Waisman (1995), the original style by Florine (1996), the traditional paradigm of the cuarteto and cuarteto – cuarteto exposed by Montes (2022, 2024) will be considered. The approach seeks to highlight the processes of relocation (Disandro, 2024) in the arrangements of tangos, milongas and waltzes proposed by the Cuarteto de Oro on this album. En 1975, el Cuarteto de Oro graba el disco Patio de tango a través del sello Philips Records, constituyéndose en una excepción debido a la elección de un repertorio de tangos. Con dos referentes del tango de Córdoba, como Edmundo Suárez al piano y Abel Lizárraga en el violín, y acompañados por Gerardo Daher en acordeón, Raúl Rosell en bajo y las voces de Néstor Raúl López, conocido como Coquito Ramaló, y Carlos Jiménez abordan clásicos del tango rioplatense e incluyen el vals «Mi ambición» del cordobés Cristino Tapia. El objetivo del presente trabajo es analizar musicológicamente los arreglos propuestos haciendo foco en los recursos compositivos, de arreglos e interpretativos que dialogan en un escenario de préstamos y cruces entre ambos géneros. Se considerarán las características musicales del estilo tradicional denominado así por Waisman (1995), el estilo originario por Florine (1996) y el paradigma tradicional del cuarteto y del cuarteto– cuarteto expuesto por Montes (2022, 2024). El enfoque busca poner de relieve los procesos de relocalización (Disandro, 2024) en los arreglos de tangos, milongas y valses propuestos por el Cuarteto de Oro en este disco. Universidad Nacional del Litoral 2025-07-04 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf application/zip https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/index/article/view/14487 10.14409/rism.2025.27.e0084 Revista del ISM; Vol. 1 No. 27 (2025): Revista del Instituto Superior de Música; e0084 Revista del ISM; Vol. 1 Núm. 27 (2025): Revista del Instituto Superior de Música; e0084 2362-3322 1666-7603 10.14409/rism.2025.27 es https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/index/article/view/14487/20300 https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/index/article/view/14487/20324 Derechos de autor 2025 Ana Belén Disandro https://creativecommons.org/licenses/by/4.0 |
| institution |
Universidad Nacional del Litoral |
| institution_str |
I-26 |
| repository_str |
R-133 |
| container_title_str |
Biblioteca Virtual - Publicaciones (UNL) |
| language |
Español |
| format |
Artículo revista |
| topic |
Tango cuarteto musical analysis relocation Tango cuarteto análisis musical relocalización |
| spellingShingle |
Tango cuarteto musical analysis relocation Tango cuarteto análisis musical relocalización Disandro, Ana Belén Crossovers and borrowings between tango and cuarteto in Patio de tango (1975) |
| topic_facet |
Tango cuarteto musical analysis relocation Tango cuarteto análisis musical relocalización |
| author |
Disandro, Ana Belén |
| author_facet |
Disandro, Ana Belén |
| author_sort |
Disandro, Ana Belén |
| title |
Crossovers and borrowings between tango and cuarteto in Patio de tango (1975) |
| title_short |
Crossovers and borrowings between tango and cuarteto in Patio de tango (1975) |
| title_full |
Crossovers and borrowings between tango and cuarteto in Patio de tango (1975) |
| title_fullStr |
Crossovers and borrowings between tango and cuarteto in Patio de tango (1975) |
| title_full_unstemmed |
Crossovers and borrowings between tango and cuarteto in Patio de tango (1975) |
| title_sort |
crossovers and borrowings between tango and cuarteto in patio de tango (1975) |
| description |
In 1975 Cuarteto de Oro recorded the album Patio de tango through the Philips Records label, becoming an exception due to the repertoire chosen in relation to previous works. With two references cordobese tango, such as Edmundo Suárez on piano and Abel Lizárraga on violin, and accompanied by Gerardo Daher on accordion, Raúl Rosell on bass and the voices of Néstor Raúl López, alias Coquito Ramaló, and Carlos Jiménez, they address classics of Rio de la Plata tango and include the waltz «Mi ambición» by Cristino Tapia from Cordoba.
The objective of this work is to analyze, from the musicology perspective, the proposed arrangements, problematizing the compositional resources, arrangement and performative that dialogue in a scenario of borrowings and crossovers between both genres. The musical characteristics of the traditional style, as named by Waisman (1995), the original style by Florine (1996), the traditional paradigm of the cuarteto and cuarteto – cuarteto exposed by Montes (2022, 2024) will be considered.
The approach seeks to highlight the processes of relocation (Disandro, 2024) in the arrangements of tangos, milongas and waltzes proposed by the Cuarteto de Oro on this album. |
| publisher |
Universidad Nacional del Litoral |
| publishDate |
2025 |
| url |
https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/index/article/view/14487 |
| work_keys_str_mv |
AT disandroanabelen crossoversandborrowingsbetweentangoandcuartetoinpatiodetango1975 AT disandroanabelen crucesyprestamosentreeltangoyelcuartetoenpatiodetango1975 |
| first_indexed |
2025-09-15T05:02:27Z |
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2025-10-15T05:01:24Z |
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