Título: Alejo Carpentier
Seção: Music
Background: Alejo Carpentier y Valmont (December 26, 1904 - April 24, 1980) was a Cuban novelist, essayist, and musicologist who greatly influenced Latin American literature during its famous "boom" period. Born in Lausanne, Switzerland, Carpentier grew up in Havana, Cuba, and despite his European birthplace, he strongly self-identified as Cuban throughout his life. He traveled extensively, particularly in France, and to South America and Mexico, where he met prominent members of the Latin American cultural and artistic community. Carpentier took a keen interest in Latin American politics and often aligned himself with revolutionary movements, such as Fidel Castro's Communist Revolution in Cuba in the mid-20th century.

Conteúdo: As a young child Carpentier was exposed to a great deal of music. Carpentier himself played the piano, as did his mother; his father played cello, studying under Pablo Casals, and his grandmother played the organ. Carpentier studied music theory at the Lycee Jeanson de Sailly when he lived in Paris for the first time. Carpentier's own compositions made him an important part of the contemporary Cuban musical landscape, but he also studied the origins and political nuances of Cuban music. His devotion to the adaptations of European artistic styles into Latin American music styles can also be seen in his admiration for Afro-Cuban musical themes.  Early in his career Carpentier collaborated with other young musicians eager to explore Cuban musical roots. One such collaborator was Amadeo Roldan, a French musician of Cuban background. They helped to organize the Cuban premiere of popular orchestral music of the era Conciertos de musica nueva (Concerts of New Music), featuring composers such as Stravinsky, Milhaud, Ravel, Malipiero, Poulenc and Erik Satie. In regards to their own music, Carpentier and Roldan were far more interested in integrating African rhythms and melodies into their works and abandoned imitation of European musical styles. "!Abajo la lira, arriba el bongo!" (Down with the lyre, up with the bongo!) was the popular slogan for their style of music. Carpentier and Roldan collaborated on numerous works, including the 1925 orchestral piece Obertura sobre temas cubanos

user: Was he always interested in music?

assistant: Carpentier himself played the piano, as did his mother; his father played cello, studying under Pablo Casals, and his grandmother played the organ.

user: Did he go to school for music?

assistant: organ. Carpentier studied music theory at the Lycee Jeanson de Sailly when he lived in Paris for the first time.

user: What else did he study?

assistant: he also studied the origins and political nuances of Cuban music.

user: Can these influences be found in his music?

assistant: Early in his career Carpentier collaborated with other young musicians eager to explore Cuban musical roots.

user: Does he come from a cuban background?

assistant: CANNOTANSWER

user: What else is significant about his music?

assistant: CANNOTANSWER

user: Who else did he work with?

assistant: featuring composers such as Stravinsky, Milhaud, Ravel, Malipiero, Poulenc and Erik Satie.