Diego Alonso Tomás
Biographic Data
| ID | 2325699 |
|---|---|
| NAME | Diego Alonso Tomás |
| GIVEN NAMES | Diego Alonso |
| FAMILY NAME | Tomás |
| SIGNATURE | TOMÁS D A |
| AFFILIATIONS | Humboldt-Universität zu Berlin |
| ORCID | 0000-0003-1714-2796 |
| VERIFIED | Yes |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2020 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
Musical Orientalism and the Sublimation of Homosexuality in Early Twentieth-Century Spain
From the late nineteenth-century onward, Orientalism became a crucial vehicle for articulating non-normative sexualities in Europe. This phenomenon was especially significant in Spain, where several prominent composers were not heterosexual and where national identity was intricately linked to the country’s Islamic past. This article examines the sublimation of homosexuality in a corpus of Symbolist Orientalist works by leading modernist composer…
Controlling Sounds
Dark Virtuosity
Singled out as one of the finest and most original works by the leading film-music composer Alberto Iglesias, the score for Pedro Almodóvar's The Skin I Live In (2011) stands out for its inclusion of a (neo-baroque) virtuoso part for solo violin with key symbolic functions in the film. This part is largely derived from the composer's post-minimalist string trio Cautiva ( c . 1990). The present article analyses Iglesias's reconfiguration of key ma…
Transnational Networks of Communist Musical Propaganda in the Spanish Civil War
A unique figure within Spanish music circles of the 1930s, the Berlin-born Jewish musicologist Otto Mayer-Serra was a central figure in a transnational network of communist musicians actively engaging with musical propaganda in support of the Republic during the Spanish civil war. Hanns Eisler, Ernst H. Meyer, Ernst Busch, Grigori Schneerson, Ferencz Szabó and several members of the Union of Soviet Composers belonged to this network. The article’…
Homage to Schoenberg and Bartók
The first movement of Roberto Gerhard's Quartetto No. 3 (ca. 1927), his final assignment under Schoenberg, represents a direct homage to the teacher. Gerhard finished the movement with a clearly identifiable allusion to the minor and major chords that close Schoenberg's String Quartet in F♯ minor No. 2, Op. 10 (1907-8). Furthermore, he employed the four-note set resulting from the fusion of these chords (pc set 4-17) as the movement's generative …
Homage to Schoenberg and Bartók
The first movement of Roberto Gerhard's Quartetto No. 3 (ca. 1927), his final assignment under Schoenberg, represents a direct homage to the teacher. Gerhard finished the movement with a clearly identifiable allusion to the minor and major chords that close Schoenberg's String Quartet in F♯ minor No. 2, Op. 10 (1907-8). Furthermore, he employed the four-note set resulting from the fusion of these chords (pc set 4-17) as the movement's generative …
Homage to Schoenberg and Bartók
The first movement of Roberto Gerhard's Quartetto No. 3 (ca. 1927), his final assignment under Schoenberg, represents a direct homage to the teacher. Gerhard finished the movement with a clearly identifiable allusion to the minor and major chords that close Schoenberg's String Quartet in F♯ minor No. 2, Op. 10 (1907-8). Furthermore, he employed the four-note set resulting from the fusion of these chords (pc set 4-17) as the movement's generative …
Transnational Networks of Communist Musical Propaganda in the Spanish Civil War
A unique figure within Spanish music circles of the 1930s, the Berlin-born Jewish musicologist Otto Mayer-Serra was a central figure in a transnational network of communist musicians actively engaging with musical propaganda in support of the Republic during the Spanish civil war. Hanns Eisler, Ernst H. Meyer, Ernst Busch, Grigori Schneerson, Ferencz Szabó and several members of the Union of Soviet Composers belonged to this network. The article’…
Dark Virtuosity
Singled out as one of the finest and most original works by the leading film-music composer Alberto Iglesias, the score for Pedro Almodóvar's The Skin I Live In (2011) stands out for its inclusion of a (neo-baroque) virtuoso part for solo violin with key symbolic functions in the film. This part is largely derived from the composer's post-minimalist string trio Cautiva ( c . 1990). The present article analyses Iglesias's reconfiguration of key ma…
Controlling Sounds
Musical Orientalism and the Sublimation of Homosexuality in Early Twentieth-Century Spain
From the late nineteenth-century onward, Orientalism became a crucial vehicle for articulating non-normative sexualities in Europe. This phenomenon was especially significant in Spain, where several prominent composers were not heterosexual and where national identity was intricately linked to the country’s Islamic past. This article examines the sublimation of homosexuality in a corpus of Symbolist Orientalist works by leading modernist composer…
Art (3 works) · Art history (3 works) · Spanish Culture and Identity (3 works) · Computer Science (2 works) · Humanities (2 works) · Literature (2 works) · Music Technology and Sound Studies (2 works) · Musical (2 works) · Acoustic Wave Phenomena Research (1 work) · Aesthetics (1 work)