The Percussion Music of Puerto Rican Composer William Ortiz
The purpose of this document is to introduce the music of percussion William Ortiz to a larger number of performers, educators and scholars of Latin American Music. Puerto Rican composer William Ortiz was raised and educated in the United States, but his Latino identity plays a vital role in his music. Particularly, his experiences as a Nuyorican in the 1970s have informed the aesthetics of his music, which transforms the sound of the streets into art music. Unique in that respect is the use of what Ortiz calls"vocalized, graffiti" verbal passages that are integrated in Ortiz' instrumental narrative. This document begins by questioning the place of Latin American Music and musicians in a complex socio-political context dominated by Eurocentric thought. After reviewing the literature on Ortiz, focus is given to the rich rhythmic vocabulary he explores in his compositions, the most notable Latin American trait of his musical language. Attention is brought to the importance of Afro-Latin Music and salsa in defining Ortiz ' Latin American aesthetics. In the second part of this document, other unique elements are examined in individual compositions.
Ricardo Coelho de Souza
Ricardo A. Coelho de Souza was born in Belém, Brazil and has lived in theUnited States since 1993. He is visiting instructor in world music and percussion at the University of Oklahoma and is active in the composition, performance, and researching . His music is published by Alan C. Publicacion OU Percusssion Press.
Metáforas de graffito sonoro
William Ortiz aus Puerto Rico (MusikTexte, October 1995)
Urban Streetlore: A Socio-Musical Manifestation In Art Music
William Ortiz, La clave bien Temperada