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Music & The Socio-Cultural Environment of
Post-Revolutionary Mexico

End Notes • Bibliography

Peter Kun Frary, Professor of Music, University of Hawaii

End Notes

¹Daniel James, Mexico and the Americas (New York: Praeger, 1963), p. 140.

²Carlos Chávez, Musical Thought (Cambridge Mass.: Harvard University Press, 1961), p. 17.

³Arthur P. Whitaker, "Nationalism in Latin America," in The Dynamics of Nationalism, ed. Louis L. Snyder (Princeton: Van Nostrand, 1964), pp. 297-98.

⁴James, p. 332.

⁵Ibid., p. 15.

⁶Ibid., p. 340.

⁷Ibid., p. 333.

⁸Chávez, p. 97.

¹⁰Gerard Béhague, Music in Latin America (Englewood Cliffs: Prentice-Hall, 1979), p. 129.

¹¹Ibid., p. 130.

¹²John J. Johnson, "Nationalism and Middle Groups in Latin America Society," in The Dynamics of Nationalism, ed. Louis L. Snyder (Princeton: Van Nostrand, 1964), p. 293.

¹³Herbert Weinstock, "Carlos Chávez," Musical Quartery 22 (October 1936): 436.

¹⁴Chávez served as the director of the Conservatorio Nacional, the Departamento de Bellas Artes, and the Instituto Nacional de Bellas Artes.

¹⁵Dan Malmström, "Introduction to Twentieth Century Mexican Music" (Ph.D. dissertation, Uppsala University, 1974), p. 62.

¹⁶Nicolas Slonimsky, Music of Latin America (New York: Thomas Y. Crowell, 1946), pp. 248-49.

¹⁷Malmström, p. 58.

¹⁸Ibid., p. 58.

¹⁹Otto Mayer-Serra, "Silvestre Revueltas and Musical Nationalism," The Musical Quarterly 27 (April 1941): 125.

²⁰Carlos Chávez, "Historical Evaluation of Manuel M. Ponce," Guitar Review, no. 7 (1948), p. 6.

Mayer-Serra, p. 124.

²¹Iris Kaphan, "Change in Cultural Context and Musical Style" (Ph.D. dis sertation, University of California at Los Angeles, 1977), p. 183.

²²Malmström, p. 63.

²³Ibid., p. 46.

²⁴Mayer-Serra, pp. 124-26.

²⁵Robert Stevenson, Music in Mexico: A Historical Survey (New York: Crowell, 1952), p. 242; Malmström, pp. 34-36. Carrillo's nationalism is apparent only after reading the titles of his works. For Example, the symphonic works Penumbras en el Pasco da la Reforma (1930) and Xochimilco (1935) suggest nationalistic contents yet the scores reveal no trace of indigenous music. Carrillo is best remembered for his innovation of a microtonal technique known as Sonido 13. Most of his works written after 1922 are based on this technique.

²⁶Chávez, p. 96.

²⁷Béhague, p. 124.

²⁸Adolfo Salazar, Music in Our Time (New York: Norton, 1946), p. 307.

²⁹Chávez, p. 18.

³⁰Hans Kohn, The Idea of Nationalism (New York: Macmillan, 1944), cited by Louis L. Snyder, The Meaning of Nationalism (New York: Greenwood Press, 1968), p. 77.

³¹Béhague, p. 124.

Bibliography

Béhague, Gerard. Music in Latin America: An Introduction. Englewood Cliffs: Prentice-Hall, 1979.

Bone, Philip J. The Guitar and Mandolin: Biographies of Celebrated Players and Composers. 2nd edition. London: Schott, 1954; reprint edition, London: Schott, 1972. 388 p. S.v. "Ponce, Manuel."

Breznikar, Joseph. "Composers Whom Segovia Inspired." Guitar Review, no. 52 (Winter 1983), pp. 22-24.

Castellanos, Pablo. "The Compositions of Manuel M. Ponce." Guitar Review, no. 7 (1948), p. 12.

Chase, Gilbert. Introducción a la Música Americana Contemporánea. Buenos Aires: Editorical Nova, 1958.

Chávez, Carlos. "Historical Evaluation of Manuel M. Ponce." Guitar Review, no. 7 (1948), p. 6.

________. Musical Thought. Cambridge, Mass.: Harvard University Press, 1961.

Coelho, Olga. "Ponce, Lover of Mexican Folklore." Guitar Review, no. 7 (1948), pp. 8-9.

Composers of the Americas, vol. 1. Washington D.C.: Pan American Union, 1955. S.v. "Manuel M. Ponce," by Otto Mayer-Serra.

Cordero, Federico. "The Interaction Between Composer Manuel Ponce and Andrés Segovia." Soundboard 10 (Summer 1983): 129-131.

Dictionary of Contemporary Music, 1974 ed. S.v. "México," by E. Pulido.

Evans, Tom and Mary Anne. Guitars: Music, History, Construction and Players from the Renaissance to Rock. New York: Facts on File, 1977.

Grunfeld, Frederic. The Arts and Times of the Guitar. London: MacMillan, 1969.

Igou, Orin. "Contemporary Symphony Activity in México." Ph.D. dissertation, Northwestern University, 1946.

James, Daniel. México and the Americas. New York: Frederick A. Praeger, 1963.

Jeffery, Brian. "24 Preludes for Guitar of Manuel M. Ponce." Soundboard 8 (August 1981): 160-62.

Kaphan, Iris. "Change in Cultural Context and Musical Style: A Connective Process, Formulated and Applied to the Mexican Revolution and Mexican Music." Ph.D. dissertation, University of California at Los Angeles, 1977.

Malmström, Dan. "Introduction to Twentieth Century Mexican Music." Ph.D. dissertation, Uppsala University, 1974.

"Much of Segovia Music Termed Mexican's Work." Stamford Advocate, 30 June 1971.

New Grove Dictionary of Music and Musicians. Vol. 12. S.v. "México" (I: Art music), by Gerard Béhague.

New Grove Dictionary of Music and Musicians. Vol. 15. S.v. "Ponce, Manuel (Maria)," by Robert Stevenson.

Otero, Corazón. Manuel M. Ponce and the Guitar. Translated by J. D. Roberts. Dorset, England: Musical New Services, 1980.

Powrozniak, Józef. Gitarren-Lexikon. Berlin: Verlag Neue Musik, 1979. S.v. "Ponce, Manuel."

Raygada, Carlos. "Manuel M. Ponce." Heterofonia 5 (May-June 1973): 19-24.

________. "Manuel Maria Ponce." Guitar Review, no. 7 (1948), pp. 5-6.

Romero, Jesús C. "Efemérides de Manuel M. Ponce," Nuestra Música 18 (2nd trimester, 1950): 164-202.

Salazar, Adolfo. Music in Our Time. Translated by Isabel Pope. New York: Norton, 1946.

Segovia, Andrés. "Manuel M. Ponce." Guitar Review, no. 7 (1948), pp. 3-4.

Serra, Otto Mayer. "Silvestre Revueltas and Musical Nationalism." The Musical Quarterly 27 (April 1941): 123-145.

Silva, Jesús. "A Note on the Preludios of Manuel M. Ponce." Guitar Review, no. 7 (1948), p. 18.

________. "Reminiscences of Manuel M. Ponce." Guitar Review, no. 7 (1948), p. 11.

Slonimsky, Nicolas. Music of Latin America. New York: Thomas Y. Crowell, 1946.

Smith, Carleton Sprague. "Impressions of Manuel Ponce." Guitar Review, no. 7 (1948), p. 10.

Snyder, Louis L, editor. The Dynamics of Nationalism. Princeton: D. Van Nostrand, 1964.

Stevens, Denis. A History of Song. Revised edition. New York: Norton, 1970.

Stevenson, Robert. Music in México: A Historical Survey. New York: Thomas Y. Crowell, 1952.

Turnbull, Harvey. The Guitar from the Renaissance to the Present Day. New York: Charles Scriber's Sons, 1974.

Villa-Lobos, Heitor. "Nostalgic Recollections." Guitar Review, no. 7 (1948), p. 11.

Weinstock, Herbert. "Carlos Chávez." The Musical Quarterly 22 (October 1936): 435-445.

Wade, Graham. Segovia: A Celebration of the Man and His Music. London: Allison and Busby, 1983.

________. Traditions of the Classical Guitar. London: John Calder, 1980.

Whitaker, Arthur P. and David C. Jordan. Nationalism in Contemporary Latin America. New York: The Free Press, 1966.
©Copyright 2001 by Peter Kun Frary • All Rights Reserved

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.	. Music & The Socio-Cultural Environment of Post-Revolutionary Mexico End Notes • Bibliography Peter Kun Frary, Professor of Music, University of Hawaii End Notes ¹Daniel James, Mexico and the Americas (New York: Praeger, 1963), p. 140. ²Carlos Chávez, Musical Thought (Cambridge Mass.: Harvard University Press, 1961), p. 17. ³Arthur P. Whitaker, "Nationalism in Latin America," in The Dynamics of Nationalism, ed. Louis L. Snyder (Princeton: Van Nostrand, 1964), pp. 297-98. ⁴James, p. 332. ⁵Ibid., p. 15. ⁶Ibid., p. 340. ⁷Ibid., p. 333. ⁸Chávez, p. 97. ¹⁰Gerard Béhague, Music in Latin America (Englewood Cliffs: Prentice-Hall, 1979), p. 129. ¹¹Ibid., p. 130. ¹²John J. Johnson, "Nationalism and Middle Groups in Latin America Society," in The Dynamics of Nationalism, ed. Louis L. Snyder (Princeton: Van Nostrand, 1964), p. 293. ¹³Herbert Weinstock, "Carlos Chávez," Musical Quartery 22 (October 1936): 436. ¹⁴Chávez served as the director of the Conservatorio Nacional, the Departamento de Bellas Artes, and the Instituto Nacional de Bellas Artes. ¹⁵Dan Malmström, "Introduction to Twentieth Century Mexican Music" (Ph.D. dissertation, Uppsala University, 1974), p. 62. ¹⁶Nicolas Slonimsky, Music of Latin America (New York: Thomas Y. Crowell, 1946), pp. 248-49. ¹⁷Malmström, p. 58. ¹⁸Ibid., p. 58. ¹⁹Otto Mayer-Serra, "Silvestre Revueltas and Musical Nationalism," The Musical Quarterly 27 (April 1941): 125. ²⁰Carlos Chávez, "Historical Evaluation of Manuel M. Ponce," Guitar Review, no. 7 (1948), p. 6. Mayer-Serra, p. 124. ²¹Iris Kaphan, "Change in Cultural Context and Musical Style" (Ph.D. dis sertation, University of California at Los Angeles, 1977), p. 183. ²²Malmström, p. 63. ²³Ibid., p. 46. ²⁴Mayer-Serra, pp. 124-26. ²⁵Robert Stevenson, Music in Mexico: A Historical Survey (New York: Crowell, 1952), p. 242; Malmström, pp. 34-36. Carrillo's nationalism is apparent only after reading the titles of his works. For Example, the symphonic works Penumbras en el Pasco da la Reforma (1930) and Xochimilco (1935) suggest nationalistic contents yet the scores reveal no trace of indigenous music. Carrillo is best remembered for his innovation of a microtonal technique known as Sonido 13. Most of his works written after 1922 are based on this technique. ²⁶Chávez, p. 96. ²⁷Béhague, p. 124. ²⁸Adolfo Salazar, Music in Our Time (New York: Norton, 1946), p. 307. ²⁹Chávez, p. 18. ³⁰Hans Kohn, The Idea of Nationalism (New York: Macmillan, 1944), cited by Louis L. Snyder, The Meaning of Nationalism (New York: Greenwood Press, 1968), p. 77. ³¹Béhague, p. 124. Bibliography Béhague, Gerard. Music in Latin America: An Introduction. Englewood Cliffs: Prentice-Hall, 1979. Bone, Philip J. The Guitar and Mandolin: Biographies of Celebrated Players and Composers. 2nd edition. London: Schott, 1954; reprint edition, London: Schott, 1972. 388 p. S.v. "Ponce, Manuel." Breznikar, Joseph. "Composers Whom Segovia Inspired." Guitar Review, no. 52 (Winter 1983), pp. 22-24. Castellanos, Pablo. "The Compositions of Manuel M. Ponce." Guitar Review, no. 7 (1948), p. 12. Chase, Gilbert. Introducción a la Música Americana Contemporánea. Buenos Aires: Editorical Nova, 1958. Chávez, Carlos. "Historical Evaluation of Manuel M. Ponce." Guitar Review, no. 7 (1948), p. 6. ________. Musical Thought. Cambridge, Mass.: Harvard University Press, 1961. Coelho, Olga. "Ponce, Lover of Mexican Folklore." Guitar Review, no. 7 (1948), pp. 8-9. Composers of the Americas, vol. 1. Washington D.C.: Pan American Union, 1955. S.v. "Manuel M. Ponce," by Otto Mayer-Serra. Cordero, Federico. "The Interaction Between Composer Manuel Ponce and Andrés Segovia." Soundboard 10 (Summer 1983): 129-131. Dictionary of Contemporary Music, 1974 ed. S.v. "México," by E. Pulido. Evans, Tom and Mary Anne. Guitars: Music, History, Construction and Players from the Renaissance to Rock. New York: Facts on File, 1977. Grunfeld, Frederic. The Arts and Times of the Guitar. London: MacMillan, 1969. Igou, Orin. "Contemporary Symphony Activity in México." Ph.D. dissertation, Northwestern University, 1946. James, Daniel. México and the Americas. New York: Frederick A. Praeger, 1963. Jeffery, Brian. "24 Preludes for Guitar of Manuel M. Ponce." Soundboard 8 (August 1981): 160-62. Kaphan, Iris. "Change in Cultural Context and Musical Style: A Connective Process, Formulated and Applied to the Mexican Revolution and Mexican Music." Ph.D. dissertation, University of California at Los Angeles, 1977. Malmström, Dan. "Introduction to Twentieth Century Mexican Music." Ph.D. dissertation, Uppsala University, 1974. "Much of Segovia Music Termed Mexican's Work." Stamford Advocate, 30 June 1971. New Grove Dictionary of Music and Musicians. Vol. 12. S.v. "México" (I: Art music), by Gerard Béhague. New Grove Dictionary of Music and Musicians. Vol. 15. S.v. "Ponce, Manuel (Maria)," by Robert Stevenson. Otero, Corazón. Manuel M. Ponce and the Guitar. Translated by J. D. Roberts. Dorset, England: Musical New Services, 1980. Powrozniak, Józef. Gitarren-Lexikon. Berlin: Verlag Neue Musik, 1979. S.v. "Ponce, Manuel." Raygada, Carlos. "Manuel M. Ponce." Heterofonia 5 (May-June 1973): 19-24. ________. "Manuel Maria Ponce." Guitar Review, no. 7 (1948), pp. 5-6. Romero, Jesús C. "Efemérides de Manuel M. Ponce," Nuestra Música 18 (2nd trimester, 1950): 164-202. Salazar, Adolfo. Music in Our Time. Translated by Isabel Pope. New York: Norton, 1946. Segovia, Andrés. "Manuel M. Ponce." Guitar Review, no. 7 (1948), pp. 3-4. Serra, Otto Mayer. "Silvestre Revueltas and Musical Nationalism." The Musical Quarterly 27 (April 1941): 123-145. Silva, Jesús. "A Note on the Preludios of Manuel M. Ponce." Guitar Review, no. 7 (1948), p. 18. ________. "Reminiscences of Manuel M. Ponce." Guitar Review, no. 7 (1948), p. 11. Slonimsky, Nicolas. Music of Latin America. New York: Thomas Y. Crowell, 1946. Smith, Carleton Sprague. "Impressions of Manuel Ponce." Guitar Review, no. 7 (1948), p. 10. Snyder, Louis L, editor. The Dynamics of Nationalism. Princeton: D. Van Nostrand, 1964. Stevens, Denis. A History of Song. Revised edition. New York: Norton, 1970. Stevenson, Robert. Music in México: A Historical Survey. New York: Thomas Y. Crowell, 1952. Turnbull, Harvey. The Guitar from the Renaissance to the Present Day. New York: Charles Scriber's Sons, 1974. Villa-Lobos, Heitor. "Nostalgic Recollections." Guitar Review, no. 7 (1948), p. 11. Weinstock, Herbert. "Carlos Chávez." The Musical Quarterly 22 (October 1936): 435-445. Wade, Graham. Segovia: A Celebration of the Man and His Music. London: Allison and Busby, 1983. ________. Traditions of the Classical Guitar. London: John Calder, 1980. Whitaker, Arthur P. and David C. Jordan. Nationalism in Contemporary Latin America. New York: The Free Press, 1966. ©Copyright 2001 by Peter Kun Frary • All Rights Reserved	.
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