Imaginary Tangos

Could improvisation—the process of creative interaction between the playing musician and a musical model—provide vital clues about a musical tradition? An examination of the history of improvisation reveals that far from being a minor, mystical, and exceptional practice, improvisation forms a basic part of most musical activity (Solis 2014). Improvisational practices have existed in tango music from its origins in the late 19th century in the Rioplatense region, where musicians performed from memory, right up to today’s electronic tango music. Scholars Gould and Keaton argue that “all improvisation in music performance relies upon the foundations of the particular musical tradition in which the work exists.” It is clear that tango’s improvisational practices convey crucial information about its evolution and performance style. In this musical discourse, the input of the performer is essential in the process of creation, not only as an interpreter but also an agent of cultural transmission and renewal. Most of the techniques peculiar to tango, however, have been passed down through oral tradition (collective and individual memory), which means that the only way of understanding and reconstructing them is through listening (research) and through the first-hand experience of performance (creation).

In this talk, Juan Sebastian Delgado, the Faculty Fellow for Diversity in the Arts, will discuss and analyze different works featuring hus instrument, the cello by prominent living composers that showcase a distinctive style, musical narrative, and contemporary practices.