Abstracts
Résumé
Le Centro Latinoamericano de Altos Estudios Musicales (claem), fondé en 1962 à Buenos Aires par Alberto Ginastera et financé par la Fondation Rockefeller, fut pendant les années 1960 le principal centre de musique contemporaine d’Amérique latine. Pourtant, le pionnier du dodécaphonisme en Argentine, Juan Carlos Paz, l’appelait volontiers l’« Academia Pitman de la composition musicale ». Ce mépris résultait d’une rivalité qui aura structuré le milieu local de la musique contemporaine pendant trente ans, et qui correspondait à deux visions concurrentes de l’histoire de la musique, entre l’avant-garde et le nationalisme. On retrace cette histoire en analysant notamment les documents de la querelle qu’en 1942 Paz baptisa « El Caso Ginastera ª.
Abstract
The Centro Latinoamericano de Altos Estudios Musicales (claem), founded in 1962 in Buenos Aires by Alberto Ginastera, and financed by the Rockefeller Foundation, was the principal centre of contemporary music in Latin America through the 1960s. However, the pioneer of 12-tone music in Argentina, Juan Carlos Paz, used to refer to it as the “Pitman Academy of musical composition”. This disdain was the result of a rivalry which lent its structure to the local milieu of contemporary music for thirty years, and which corresponded to competing visions of the history of music which opposed an avant-garde to a nationalist conception. In this article, this history is retraced notably through the analysis of the documents of the quarrel which in 1942 Paz christened “the case against Ginastera”.