This dissertation aims to give performers deeper insight into the style of the Tango-Études pour flûte seule and tango music in general as they seek to learn and apply tango performance conventions to the Tango-Études and other tango works. Significant research elements of this dissertation include a complete analysis of phrasing, tonality, and formal structure and how these relate to performance in each of the six Tango-Études and an examination of Piazzolla’s compositional use of descending chromatic chords and implied descending lines; my reductions of this voice leading as it appears in the Tango-Études are exclusive to this dissertation. This dissertation is divided into five chapters and an appendix. Chapter one presents background information about Piazzolla and his serious works and a review of literature pertaining to this dissertation. Chapter two examines the history of tango with a focus on its settings and the flute’s role in it. Chapter three provides analysis of fraseo, rhythm, form, rubato, ornamentation, and improvisation and how musicians might implement these parameters in their performances. Chapter four offers formal and stylistic analysis of each Tango-Étude and gives interpretative suggestions based on analysis of form, harmony, phrase-structures, motives, thematic development, and implied textures. The appendix comprises a series of interviews with tango musicians who worked alongside Piazzolla. This dissertation opens new avenues of scholarship in the analysis, performance, and style of the music of Astor Piazzolla, and I hope that subsequent research will address his chamber works.
","abstract_html":"<p>This dissertation aims to give performers deeper insight into the style of the <em>Tango-Études pour flûte seule</em> and tango music in general as they seek to learn and apply tango performance conventions to the <em>Tango-Études</em> and other tango works. Significant research elements of this dissertation include a complete analysis of phrasing, tonality, and formal structure and how these relate to performance in each of the six <em>Tango-Études</em> and an examination of Piazzolla’s compositional use of descending chromatic chords and implied descending lines; my reductions of this voice leading as it appears in the <em>Tango-Études</em> are exclusive to this dissertation. This dissertation is divided into five chapters and an appendix. Chapter one presents background information about Piazzolla and his serious works and a review of literature pertaining to this dissertation. Chapter two examines the history of tango with a focus on its settings and the flute’s role in it. Chapter three provides analysis of fraseo, rhythm, form, rubato, ornamentation, and improvisation and how musicians might implement these parameters in their performances. Chapter four offers formal and stylistic analysis of each <em>Tango-Étude</em> and gives interpretative suggestions based on analysis of form, harmony, phrase-structures, motives, thematic development, and implied textures. The appendix comprises a series of interviews with tango musicians who worked alongside Piazzolla. This dissertation opens new avenues of scholarship in the analysis, performance, and style of the music of Astor Piazzolla, and I hope that subsequent research will address his chamber works.</p>","abstract_has_math":false,"creators":["Reyes, Asis"],"institution":"The Graduate School and University Center of The City University of New York","degree_name":"Doctor of Musical Arts","degree_level":"Doctoral","degree_discipline":"Music","degree_department":null,"school":null,"contributors":[],"advisors":["Antoni Pizà"],"committee_chairs":[],"committee_members":["Thomas McKinley","Peter Manuel","Tania Leon"],"year":2018,"date_issued":"2018-02-01T08:00:00Z","date_published":"2018-02-01T08:00:00Z","updated_at":"2026-07-24T01:59:14Z","subjects":["Music Performance","Music Practice","tango","new tango","Astor Piazzolla","Tango-Études","flute","performance practice","Buenos Aires"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://academicworks.cuny.edu/gc_etds/2509","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Antoni Pizà"]},{"key":"dc:contributor.committeemember","label":"Committee Member","values":["Thomas McKinley","Peter Manuel","Tania Leon"]},{"key":"dc:creator","label":"Author","values":["Reyes, Asis"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["2018-01-25T08:00:00Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Music"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Doctoral"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Doctor of Musical Arts"]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["The Graduate School and University Center of The City University of New York"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Music Performance","Music Practice","tango","new tango","Astor Piazzolla","Tango-Études","flute","performance practice","Buenos Aires"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://academicworks.cuny.edu/gc_etds/2509"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["This dissertation aims to give performers deeper insight into the style of the Tango-Études pour flûte seule and tango music in general as they seek to learn and apply tango performance conventions to the Tango-Études and other tango works. Significant research elements of this dissertation include a complete analysis of phrasing, tonality, and formal structure and how these relate to performance in each of the six Tango-Études and an examination of Piazzolla’s compositional use of descending chromatic chords and implied descending lines; my reductions of this voice leading as it appears in the Tango-Études are exclusive to this dissertation. This dissertation is divided into five chapters and an appendix. Chapter one presents background information about Piazzolla and his serious works and a review of literature pertaining to this dissertation. Chapter two examines the history of tango with a focus on its settings and the flute’s role in it. Chapter three provides analysis of fraseo, rhythm, form, rubato, ornamentation, and improvisation and how musicians might implement these parameters in their performances. Chapter four offers formal and stylistic analysis of each Tango-Étude and gives interpretative suggestions based on analysis of form, harmony, phrase-structures, motives, thematic development, and implied textures. The appendix comprises a series of interviews with tango musicians who worked alongside Piazzolla. This dissertation opens new avenues of scholarship in the analysis, performance, and style of the music of Astor Piazzolla, and I hope that subsequent research will address his chamber works.
"]},{"key":"dc:title","label":"Title","values":["A Performer’s Guide to Astor Piazzolla's Tango-Études pour flûte seule: An Analytical Approach"]}]}],"canonical_facts":{"dc:contributor.advisor":["Antoni Pizà"],"dc:contributor.committeemember":["Thomas McKinley","Peter Manuel","Tania Leon"],"dc:creator":["Reyes, Asis"],"dc:date.available":["2018-01-25T08:00:00Z"],"dc:description.abstract":["This dissertation aims to give performers deeper insight into the style of the Tango-Études pour flûte seule and tango music in general as they seek to learn and apply tango performance conventions to the Tango-Études and other tango works. Significant research elements of this dissertation include a complete analysis of phrasing, tonality, and formal structure and how these relate to performance in each of the six Tango-Études and an examination of Piazzolla’s compositional use of descending chromatic chords and implied descending lines; my reductions of this voice leading as it appears in the Tango-Études are exclusive to this dissertation. This dissertation is divided into five chapters and an appendix. Chapter one presents background information about Piazzolla and his serious works and a review of literature pertaining to this dissertation. Chapter two examines the history of tango with a focus on its settings and the flute’s role in it. Chapter three provides analysis of fraseo, rhythm, form, rubato, ornamentation, and improvisation and how musicians might implement these parameters in their performances. Chapter four offers formal and stylistic analysis of each Tango-Étude and gives interpretative suggestions based on analysis of form, harmony, phrase-structures, motives, thematic development, and implied textures. The appendix comprises a series of interviews with tango musicians who worked alongside Piazzolla. This dissertation opens new avenues of scholarship in the analysis, performance, and style of the music of Astor Piazzolla, and I hope that subsequent research will address his chamber works.
"],"dc:identifier":["https://academicworks.cuny.edu/gc_etds/2509"],"dc:subject":["Music Performance","Music Practice","tango","new tango","Astor Piazzolla","Tango-Études","flute","performance practice","Buenos Aires"],"dc:title":["A Performer’s Guide to Astor Piazzolla's Tango-Études pour flûte seule: An Analytical Approach"],"thesis:degree_discipline":["Music"],"thesis:degree_level":["Doctoral"],"thesis:degree_name":["Doctor of Musical Arts"],"thesis:institution_name":["The Graduate School and University Center of The City University of New York"]},"updated_at":"2026-07-24T01:59:14Z"}