- The Oxford Handbook of Music Censorship
- In the Quest of Gallican Remnants in Gregorian Manuscripts: Archaisms in the Masses for the Holy Cross in Aquitanian Chant Books
- The English Kyrie
- Governmental Interference as a Shaping Force in Elizabethan Printed Music
- The Sounds of Indigenous Ancestors: Music, Corporality, and Memory in the Jesuit Missions of Colonial SouthAmerica
- “We Should Not Sing of Heaven and Angels”: Performing Western Sacred Music in Soviet Russia, 1917–1964
- A Strident Silencing: The Ban on Richard Wagner in Israel
- HARPOCRATES at Work: How the God of Silence Protected Eighteenth-Century French Iconoclasts
- Sex, Politics, and Censorship in Mozart’s <i>Don Giovanni</i>/<i>Don Juan</i>
- The Depoliticized Drama: Mozart’s Figaro and the Depths of Enlightenment
- The Curious Incident of <i>Fidelio</i> and the Censors
- “Years in Prison”: Giuseppe Verdi and Censorship in Pre-Unification Italy
- Micronarratives of Music and (Self-)censorship in Socialist Yugoslavia
- Popular Music as a Barometer of Political Change: Evidence from Taiwan
- Music and Censorship in Vietnam since 1954
- Miguel Ángel Estrella: (Classical) Music for the People, Dictatorship, and Memory
- A Case Study of Brazilian Popular Music and Censorship: Ivan Lins’s Music during Dictatorship in Brazil
- Alban Berg’s “Guilt” by Association
- Slow Dissolves, Full Stops, and Interruptions: Terezín, Censorship, and the Summer of 1944
- Selling Schnittke: Late Soviet Censorship and the Cold War Marketplace
- Curb that Enticing Tone: Music Censorship in the PRC
- Censorship and the Politics of Reception: The Filmic Afterlife of Marc Blitzstein’s The Cradle Will Rock
- Pete Seeger’s Project
- Government Censorship and Aaron Copland’s <i>Lincoln Portrait</i> during the Second Red Scare
- “A Day in the Life”: The Beatles and the BBC, May 1967
- Composing in Black and White: Code-Switching in the Songs of Sam Lucas
- Exploring Transitions in Popular Music: Censorship from Apartheid to Post-Apartheid South Africa
- Rap Music and Rap Audiences Revisited: How Race Matters in the Perception of Rap Music
- Deaths and Silences: Coding and Defiance in Music about AIDS
- Teaching Silence in the Twenty-First Century: Where are the Missing Women Composers?
- Veiled Voices: Music and Censorship in Post-Revolutionary Iran
Abstract and Keywords
This chapter examines the place of Argentine pianist Miguel Ángel Estrella in the politics of Latin American music, focusing on the Dirty War, the wave of repression and violence by military regimes during the 1960s and 1970s. It begins with Estrella’s recital in September 1987 as a tribute to Nadia Boulanger, who died in October 1979 and was one protagonist in Estrella’s story. It then considers Estrella’s political activities in Argentina and his being formally charged with subversion, sedition, and terrorist activities, as well as his promotion of the masterworks of the Western canon. It also contextualizes Estrella’s experience in light of a number of broader issues, relating Estrella and his traditionalist repertory to the ongoing debate among composers and critics over socially engaged music (música comprometida); the historical antecedents of this debate and how they inform present-day reactions to the status of either the avant-garde or the Western canon in música comprometida; and how scholars in the United States might understand Estrella’s story.
Carol A. Hess is Professor and Chair of the Department of Music at the University of California, Davis.
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