{"id":130,"date":"2013-12-10T15:40:27","date_gmt":"2013-12-10T20:40:27","guid":{"rendered":"https:\/\/sites.bu.edu\/afammusicworldculture\/?page_id=130"},"modified":"2014-03-13T17:15:13","modified_gmt":"2014-03-13T21:15:13","slug":"marcello-piras","status":"publish","type":"page","link":"https:\/\/sites.bu.edu\/afammusicworldculture\/speakers\/marcello-piras\/","title":{"rendered":"Marcello Piras"},"content":{"rendered":"<p><a href=\"\/afammusicworldculture\/files\/2013\/12\/DSC7172.jpg\"><img loading=\"lazy\" src=\"\/afammusicworldculture\/files\/2013\/12\/DSC7172-150x150.jpg\" alt=\"_DSC7172\" width=\"150\" height=\"150\" class=\"size-thumbnail wp-image-637 alignleft\" \/><\/a><\/p>\n<p><em>Marcello Piras<br \/>\nMexico<\/em><\/p>\n<p>Marcello Piras is internationally known as an authority on black music,\u00a0although his research extends beyond it. He has published a book on John Coltrane and\u00a0essays for encyclopaedias, books &amp; periodicals. His work includes translations of Gunther Schuller\u2019s Early Jazz and The\u00a0Swing Era and record liner notes and also developing a new method for jazz structural analysis. He has held masterclasses\u00a0on performance practice and lectured in Italy, Germany, USA, Canada, Mexico, and Brazil. By 2001-2002, he\u00a0worked at the Center for Black Music Research, Chicago, and at the University of Michigan, as Executive\u00a0Editor of the MUSA series. He currently lives in Mexico, studying the black influence on Baroque music and\u00a0writing a work on Afrocentric music history from Stone Age to present &#8211; integrating palaeontology, evolutionism,\u00a0human brain phylogenesis, linguistics, and archaeology.<\/p>\n<p><strong>Talk Title:\u00a0Ecos de M\u00e9xico: Young Scott Joplin and His Secret Role Models<\/strong><\/p>\n<p>Although Mexico\u2019s musical history is the richest, longest and best documented in the New World, \u201cthe\u201d Mexican music the world knows mostly comes from a short period, ca. late 19th \u2013 early 20th century. While such compositions as <em>Cielito lindo (1882), Sobre las olas (1888)\u00a0<\/em>and<em> Estrellita (1912)<\/em> were winning international success, music in the USA was in transition from an era of obscurity to a golden age. No wonder that Mexican musicians, specially when touring the USA, were being revered by many Northern colleagues. In the 1890\u2019s, young Scott Joplin was wrestling to master the language of white American genteel music and turn it into a distinctly Negro idiom\u2014a problem still quite new for the USA, but not at all new in the Spanish-\u00ad\u2010speaking world. Joplin soon found that Latin musicians were ahead of him in many respects and could be sources of effective musical solutions. This fact \u2014 so far overlooked by ragtime research \u2014 is documented in Joplin\u2019s music, which, surprisingly, hides entire strains virtually lifted from Mexican compositions.<\/p>\n<p>WEB LINK:\u00a0<a href=\"http:\/\/cocoprojazz.com\/marcellopiras.html\" target=\"_blank\">http:\/\/cocoprojazz.com\/marcellopiras.html<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Marcello Piras Mexico Marcello Piras is internationally known as an authority on black music,\u00a0although his research extends beyond it. He has published a book on John Coltrane and\u00a0essays for encyclopaedias, books &amp; periodicals. His work includes translations of Gunther Schuller\u2019s Early Jazz and The\u00a0Swing Era and record liner notes and also developing a new method [&hellip;]<\/p>\n","protected":false},"author":3592,"featured_media":0,"parent":85,"menu_order":26,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/sites.bu.edu\/afammusicworldculture\/wp-json\/wp\/v2\/pages\/130"}],"collection":[{"href":"https:\/\/sites.bu.edu\/afammusicworldculture\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sites.bu.edu\/afammusicworldculture\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sites.bu.edu\/afammusicworldculture\/wp-json\/wp\/v2\/users\/3592"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.bu.edu\/afammusicworldculture\/wp-json\/wp\/v2\/comments?post=130"}],"version-history":[{"count":14,"href":"https:\/\/sites.bu.edu\/afammusicworldculture\/wp-json\/wp\/v2\/pages\/130\/revisions"}],"predecessor-version":[{"id":1285,"href":"https:\/\/sites.bu.edu\/afammusicworldculture\/wp-json\/wp\/v2\/pages\/130\/revisions\/1285"}],"up":[{"embeddable":true,"href":"https:\/\/sites.bu.edu\/afammusicworldculture\/wp-json\/wp\/v2\/pages\/85"}],"wp:attachment":[{"href":"https:\/\/sites.bu.edu\/afammusicworldculture\/wp-json\/wp\/v2\/media?parent=130"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}