Cuadernos de Análisis y Debate sobre Músicas Latinoamericanas Contemporáneas
Cuadernos de Análisis y Debate sobre Músicas Latinoamericanas Contemporáneas wants to provide a space for critical reflection that will greatly reach the interested public, from its own place and enunciation. It aspires, on the one hand, to creatively construct ideas and thoughts, even conflicting ones, about contemporary music, and on the other, to be rigorous and bring together the most prominent local and Latin American researchers, as well as composers and international specialists on current academic Latin American music. In order to offer a wide variety of visions, this publication is produced within the framework of a co-publishing project between academic institutions with recognized academic expertise in the area of ”‹”‹contemporary music studies. The participating institutions are the Instituto Nacional de Musicología “Carlos Vega”; the Instituto de Investigación Musicológica “Carlos Vega” of the Facultad de Artes y Ciencias Musicales from the Pontificia Universidad Católica Argentina, and Facultad de Artes y Diseño of the Universidad Nacional de Cuyo.
Instituto Nacional de Musicología “Carlos Vega”; Instituto de Investigación Musicológica “Carlos Vega” de la Facultad de Artes y Ciencias Musicales de la Universidad Católica Argentina; Facultad de Artes y Diseño de la Universidad Nacional de Cuyo
Estudio interdisciplinar sobre modelos matemáticos de similitud aplicados a la música popular colombiana
Currently, multidisciplinary research extends with greater impact to musical studies. Since it allows observations from different angles of pre-established theoretical concepts or the deepening of them based on the procedures and methodologies used in other disciplines. It is for the aforementioned that in this consolidated some mathematical processes are implemented that allow calculating the distances between musical genres based on the comparison of their results, which intend to trace. In future investigations their possible genealogical origin through the interpretation of their data.
Copyright (c) 2022 Andrés Alfonso Garzón Charry https://creativecommons.org/licenses/by-nc-sa/4.0
“”¦el ruido de lo roto”¦”. Un estudio sobre OID de Juan Pampín
OID is an homage to Darío Santillán and Maximiliano Kosteki by Argentinian composer Juan Pampin (b. 1967). The piece, scored for piano, live electronics, and video consists of a set of variations on the introduction of the piano version of the Argentinian National Anthem, which, according to the composer, ciphers the Argentinian catastrophic destiny. Not ignoring the composer’s ideas on his piece, we propose that OID offers a singular –musical– perspective of post-2001Argentina. This means that the music is not (just) the testimony of a ‘disaster’, but it also opens a crack which allows for the emergency of a new perspective, an emancipatory power to aid us in rethinking the present and the future. To go through this aesthetic political operation, we analyze Pampin’s piece by looking for moments where compositional technique and aesthetic discourse intersect. To do this, we follow Theodor Adorno’s critique of Gustav Mahler, which gives us clues to understand the destructive-constructive process that of this work. It is not about reconciling our broken national identity, but to embrace this fracture, its deformity, and to amplify it, thus providing a way to allow the defeated to speak up.
Copyright (c) 2022 Daniel Halaban https://creativecommons.org/licenses/by-nc-sa/4.0
Cartas de navegación para columnas de aire con modos de vibración segregados
La bibliografía existente respecto a la ejecución de sonidos multifónicos en el saxofón alto brinda un gran cúmulo de datos para su producción en dicho instrumento. Pese a este volumen de material disponible, no se encuentra esta diversidad en el repertorio para el instrumento. El volumen de información - sesgada/truncada a su vez - hace temerario el adentrarse en las páginas y páginas con digitaciones de estos sonidos. En este trabajo se presenta un modelo, basado en los conceptos básicos de serie de armónicos, longitud de onda y cancelación de modos de vibración, para diagramar un mapa que permita acceder a un área de componentes multifónicas con posibilidades más cercanas y concretas a los actores que intervienen en la construcción de una expresión musical: compositoras, compositores e instrumentistas.
Copyright (c) 2022 Luis Federico Jaureguiberry https://creativecommons.org/licenses/by-nc-sa/4.0
Análisis comparativo de multifónicos en la familia de saxofones
This work presents a comparative analysis of multiphonics in the different members of the saxophone family. Starting from the intuitive premise that the same fingering on two different saxophones would result in the same multiphonic but transposed, 18 examples were analysed from two different perspectives: 1) multiphonics with the same fingering on different saxophones; 2) multiphonics with the same notes (sounding pitches) but different fingerings on different saxophones. In both cases, the study involved spectral analysis of a set of multiphonics specially selected for their particular characteristics, including a transcription to musical notation of the main spectral components. As a complement, the spectral analysis of similar multiphonics were compared, focusing on saxophones that share the same tuning (soprano and tenor saxophones in Bb, alto and baritone in Eb). The results obtained in this work, allow us to open research questions for the future, mainly considering timbre perception of those multiphonics that, sharing the same spectral structure, present amplitude variations in the pitch components between saxophones.
Copyright (c) 2022 Martín Proscia; Antonio Ortega Brook https://creativecommons.org/licenses/by-nc-sa/4.0
Nuevos aires en el Río de la Plata. Los tangos de Mariano Etkin y Gerardo Gandini
This paper will attempt to explore the multiple connections of influences between various avant-garde composers in their approach to the tango universe. From the early composition of Erik Satie's Le Tango perpetuel -at the height of the rioplatense genre in Paris at the beginning of the century- through John Cage's Perpetual tango, to the tangos of Argentine composers Mariano Etkin and Gerardo Gandini at the beginning of the 21st century. While the reception of both Satie and Cage adapted stylistic features of tango to their own aesthetic quests, in the case of Gandini and Etkin we would like to show how their tangos are not only inscribed in their own theoretical and stylistic interests in dialogue with the tradition of the genre, but also provide new perspectives of future development.
Copyright (c) 2022 Luis Menacho https://creativecommons.org/licenses/by-nc-sa/4.0
Improvisación Libre: una perspectiva performativa en el campo musical expandido de la ciudad de Córdoba hacia los últimos diez años
The article analyzes the recent microhistory of the city of Córdoba around contemporary musical practice and music teaching institutions. The economy of symbolic goods and cooperative bonds in the city are reviewed to propose, from free improvisation, an expansion of the local musical field.
Copyright (c) 2021 Franco Pellini https://creativecommons.org/licenses/by-nc-sa/4.0
The Damiano Cozzella Collection at CDMC/UNICAMP: a preliminary analysis
The Damiano Cozzella Collection at Contemporary Music Documentation Coordination (CDMC) from University of Campinas (UNICAMP) was created from a donation of sheet music made in 2019 by the family. This paper aims to evaluate and disseminate this material. The donation includes 24 compositions that are the focus of this article, and 46 arrangements from two sources: the compositions were part of Damiano Cozzella”Ÿs personal collection, while the orchestral arrangements were collected in the Campinas Symphonic Orchestra”Ÿs archive. From a preliminary analysis, we divided his compositions into three groups of aesthetic orientations: works centered on musical writing; works in which irony and a critical attitude towards consumer society and artistic practice are evident; and pieces that have characteristics related to popular music. The research around the donated collection aims to shed light on a decisive composer for Brazilian and Latin American music. Mostly known for his choral arrangement work, his authorial compositions and orchestral arrangements are to be researched. Thus, with this paper, the process of disseminating Damiano Cozzella's work and personality has been started, seeking to lead him to a deserved prominent position in contemporary Brazilian music historiography.
Copyright (c) 2021 Tadeu Moraes Taffarello, Fernando de Oliveira Magre https://creativecommons.org/licenses/by-nc-sa/4.0
La ocupación del espacio musical en Escrito sobre escrito sobre escrito de Marcelo Delgado
This article studies intertextual spaces that appear in a rewriting work done by Marcelo Delgado based on Eusebius by Gerardo Gandini. The analytical research will take the technique Cantus firmus as a historical reference. Thus, it will provide a framework to analyze the configuration of a musical and intertextual space widened by the recognition of interval-class content and pitch-class sets that refer to musical piece No. 14 of the piano cycle DavidsbündlertÁ¤nze (1837) by Robert Schumann. As a final stage, the palimpsest metaphor is followed to interpret the relations derived from this analysis.
Copyright (c) 2021 Gastón Ares https://creativecommons.org/licenses/by-nc-sa/4.0
A participaÁ§ão de Eunice Katunda no Curso Latinoamericano de Música Contemporánea n. 8: desafios e possibilidades
This article reflects on the participation of Brazilian composer and pianist Eunice Katunda in the eighth edition of Latin American Courses on Contemporary Music (CLAMC), held in Brazil in 1979 in honor, mainly, of the 40 years of the Música Viva group of composers. Created in 1939 by Hans-Joachim Koellreutter, this group was pioneer in disseminating modern compositional techniques in the 1940s in Brazil, being Eunice Katunda one of the members who most national and international pieces of work premiered. In addition to publicizing her own compositions and those of colleagues, Eunice also performed as editor on texts and reviews about musical aesthetics, also in the Música Viva”Ÿs bulletins and in Brazilian newspapers with wide circulation. This fact put her in evidence among the controversy about dodecaphonism in Brazil, culminating not only in her image”Ÿs erosion, but also in the gradual dissolution of the group itself. In this context, the CLAMC”Ÿs eight edition was an opportunity to reconnect her with old colleagues in the musical field, including her master Koellreutter, to whom she publicly apologized. From that moment on, new possibilities opened up for the pianist and composer, who turned to the stages with unpublished works and showing great artistic maturity.
Cursos Latinoamericanos de Música Contemporánea
Copyright (c) 2021 Eliana Monteiro da Silva, Marisa Milan Candido https://creativecommons.org/licenses/by-nc-sa/4.0
Ensayo Electrónico: aproximación al análisis tímbrico a partir de la percepción auditiva y la espectromorfología
Listening perception is a fundamental action and tool in the development of the musical discipline. However, it has historically been used for the appreciation of musical works and for auditory training in the traditional teaching of music in Colombia, which, in many cases, excludes the timbre musical parameter. In this article, we will work with Ensayo electrónico (1965) by the Colombian composer Fabio González Zuleta, starting from auditory perception and subjectivity towards the theorisation of sounds from a spectromorphological perspective.
Copyright (c) 2021 Juan Diego Estupiñán Díaz, Valentina Roveda Villamil https://creativecommons.org/licenses/by-nc-sa/4.0
Trío de las Proporciones. Análisis compositivo e interpretativo
The following work defines a modern compositive language developed and implemented by Cesar Francisena in one of his most unique works for Chamber Music Trío de las Proporciones para flauta, clarinete y piano. The objective is to conduct an interpretive - analytical study of his work. Franchisena was born in Chaco (Argentina) on September the 3rd of 1923 and died in Cordoba on January the 1st of 1992. He was of the most distinguished members of the “New Music Association” (ANM). He led the Cordoba Branch from where he disseminated a large part of his contemporary repertoire (national and international). His work began to get known in Argentina in the fifties. He started at the Art Faculty of the National University in 1956 and kept working there for more than three decades. Founder of Compositions I, II and III Lecturers and Chief Founder of the Electronic Lab (1977) and Distinguished Professor Emeritus (1992). Franchisena paired to the European and American compositive lines representing the local Avant Gard. This statement is backed up for how he used different variables such as space and times, emphasizing the usage of different articulations, densities and structures.
Copyright (c) 2021 Teodora María Inés Caramello https://creativecommons.org/licenses/by-nc-sa/4.0
El tiempo tardío en exótica de Juan Campoverde
The analysis of Juan Campoverde's work, exotic, focuses on the theme of the end of the nation as a priority, and moves towards what is called a certain historical nihilism. It shows the appearance of diverse temporalities in the work that would correspond with similar historical drifts, in such a way that we would be listening to those typical sequences of the times of late capitalism that the work expresses critically. Thus, it shows how late time passes without passing, stopped in the endless present of capitalism. In the face of this, we find in Campoverde an untimely time that is expressed in the temporal structures of the work.
Copyright (c) 2021 Carlos Rojas Reyes https://creativecommons.org/licenses/by-nc-sa/4.0
Percepción de la educación musical del siglo XXI: un acercamiento fenomenológico a las visiones de docentes universitarios latinoamericanos
This work exposes some of the common educational challenges in the Latin American university music education of the XXI century, which were recognized by two researchers from Argentina and Mexico in a qualitative exploratory study that included debates, seminars and the application of questionnaires to eight university professors who work in different contexts of Argentina, Brazil, Mexico and Panama. It was found that, despite the marked differences in their work spaces and sociocultural conditions, the perception of current educational needs are very similar, so that current educational practice is moving, within the framework of a hidden curriculum, towards training skills not declared in the formal curriculum.
Copyright (c) 2021 Irma Susana Carbajal Vaca, Alejandra Sáez https://creativecommons.org/licenses/by-nc-sa/4.0
Music for eight persons playing things: un acercamiento a la obra de Jorge Antunes desde el pensamiento tímbrico
Through the construction of an analysis tool that collects different categories and characterizations of timbre and timbre modulations, this work addresses the sound components, the timbral resultant, movements and transformations in time of the work “Music for eight playing things” of the Brazilian composer Jorge Antunes, describing the different types of timbral behaviors and interpreting the place and function of the textures, seeking a systematicity within the work. As a reflection, we could observe that by including the word ‘persons’ in the title of the piece, the composer possibly invites non-musicians to interpret it. In addition to this, the composer makes use of an intuitive proportional notation. Moreover, this work reflects important elements of timbral and electroacoustic thought.
Copyright (c) 2021 Andrés Gómez Huertas, Julián Medina Vega https://creativecommons.org/licenses/by-nc-sa/4.0
Biomúsica: estudio interdisciplinario del paisaje sonoro para la creación de música nueva
This paper proposes to discuss the studies of the soundscape from two approaches, on the one hand, acoustic ecology as an area of study that emerges from the sound arts to analyze acoustic communication systems in the sound environment from auditory perception. On the other hand, ecoacoustics or soundscape ecology as a scientific area to understand the acoustic phenomena of animal communication from the measurement and interpretation of data in a quantitative way. The aim is to develop an interdisciplinary review from sound art and bioacoustics to describe an emerging area of knowledge that is biomusic as theoretical tools to think about the creation of new music.
Copyright (c) 2021 Tania L. Rubio Sánchez https://creativecommons.org/licenses/by-nc-sa/4.0
Intertextualidad rizomática en la obra de Juan Carlos Tolosa
In this writing, the use of intertextuality in the work of the composer Juan Carlos Tolosa is analyzed, starting from the premise that the artistic paradigm of the work is reflected in the use of intertextuality. The applied methodology analyzes the object, the form and the intertextual function with the aim of unraveling the concepts and value systems that make up this paradigm. The analysis discovers a rhizomatic intertextuality; a deconstructed subject that relates to the other from alterity; an author who is questioned, and unauthorized; an idea of structure with absence of center; a meaning that is built in play, from its previous condition of absence; a positioning within the history and an incorporation of history within the work; a disbelief regarding metanarratives; and an Other that is seen as a rhizomatic and non-hierarchical set.
Copyright (c) 2021 Eva García Fernández https://creativecommons.org/licenses/by-nc-sa/4.0
Aproximación al ‘minimismo’ latinoamericano
This work proposes an approach to the construction of a definition of Latin American ‘minimism’. This expression, coined by the composer Graciela Paraskevaídis (1940- 2017), is taken as a starting point to verify certain characteristics that account for this category. In this sense, we propose to highlight traits such as austerity, deprivation and silence in compositional media as part of these researches by Latin American composers. Thus, we will illustrate those structural differences between Latin American ‘minimism’ and North American minimalism, as well as regarding European musical thought. Later, we will analyze in a repertoire selected for this occasion, elements that are associated with the premises by Coriún Aharonián (1940-2017) and Graciela Paraskevaídis, and that allow to exemplify the archetypal features of these musics.
Copyright (c) 2021 Luciana Natalia Orellana Lanús https://creativecommons.org/licenses/by-nc-sa/4.0
Entre la música y la performance. Características singulares en la producción musical escénica de Matías Giuliani
This article studies the outstanding aspects of the aesthetic proposal of the Argentine composer Matías Giuliani, specifically investigating his production of scenic music, which is characterized by the collaborative work with the performers, where operative processes are articulated that involve a review of the concert as an institution and an opening towards new conceptions around the intervening agents and their functions, based on experimentation in the instances of compositional process, notation, rehearsal, recording, staging and interpretation.
Copyright (c) 2021 Ramiro Mansilla Pons https://creativecommons.org/licenses/by-nc-sa/4.0
Cortes sonoros: músicas, apropiaciones, contextos
Sampling is very popular amongst commercial music, although it is also present in electroacoustic or acousmatic music as well as soundscapes, radio-art, sound-art and other non-musical media from radio transmissions and television like speeches, advertisements, and others. Artistic expressions like collage, meta collage, appropriation, intervention, plunderphonic, remix, parody, allusion and paraphrasing have become part of the landscape of contemporary artistic creation; they usually have ambiguous boundaries but without being a problem for the musicians/composers. It’s safe to say, without a doubt, that sampling, or sampling culture, is one of the most innovative and active movements of the last decades. But what are its origins? Under which circumstances did we began to consider using previously recorded and distinguishable pieces? Why does a creator/composer chooses to use a pre-recorded musical fragment, and what does it mean for the listener?
Copyright (c) 2021 Raúl Minsburg https://creativecommons.org/licenses/by-nc-sa/4.0
Objetos sonoros de múltiples componentes y escalas con un comportamiento no-lineal
The writing presented here has attempted to reach an understanding regarding certain current musical objects (works by Julio Estrada and Pablo Araya primarily); that is, to understand its ontological nature. The conclusion reached is that they have a multi-component structure and scales in addition to a highly irregular and unstable dynamic behavior (non-linearity). Such a thing gives great timbral complexity. However, this has repercussions on the ways in which composers think and reason their music, an issue that entails a semiotic and cognitive problem.
Copyright (c) 2019 Pablo Araya https://creativecommons.org/licenses/by-nc-sa/4.0
Glosario para Partituras Digitales Dinámicas
In this text we present the need of developing a starting point that allows the appropriation of new forms of musical writing in computers by contemporary music composers. For this purpose we created a glossary, theoretically framed in western music tradition, and concluded with a suggested bibliography –in case that there is the need for a wider framework.
Copyright (c) 2019 Patricio Calatayud, María Teresa Campos Alcaraz https://creativecommons.org/licenses/by-nc-sa/4.0
Ataque, cuerpo y decay del Doble Cuarteto
Ataque, cuerpo y decay del Doble Cuarteto materializes on text a series of presentations of the Doble Cuarteto, a group which consisted of four electric guitars and four saxes, active in the Buenos Aires experimental scene for several years. Individual names were diluted in collective actions that fluctuated between performance, site specific interventions and the resound of movies. The group set production strategies that established continuities and ruptures with an oscillating community from a located Latin American territory.
Copyright (c) 2019 Federico Barabino https://creativecommons.org/licenses/by-nc-sa/4.0
El cantable In Memoriam de Mario Kuri-Aldana: cultura musical entre dos riberas
This article approaches the cantabile In Memoriam (1971) by Mario Kuri-Aldana from the theory of musical culture enunciated by Gino Stefani (1997). This semiotic notion requires that at first the musical experiences of the composer are elucidated and then these are connected to the corpus studied, through a thorough examination of the recurrent codes. In this sense, the composer's step is reconstructed by the academy, its connection with the styles of his time, the established links with musicians and musical cultures of Latin America, as well as the role of the author's aesthetic reflection that determines his compositional budgets. On the other hand, the main strategies of symbolic construction that make up the semantic sphere of the work are systematized from their relationship with the socioculturally constructed codes that the author applies in a creative manner. In this way, the aim is to triangulate the musical experiences of Kuri-Aldana, the exegesis of systematized codes in order to determine the musical culture that characterizes this composition.
Copyright (c) 2019 Renier Garnier García https://creativecommons.org/licenses/by-nc-sa/4.0
A análise dinÁ¢mica dos gestos violonísticos em Micro Study 3, de Arthur Kampela
This essay aims to do an analysis of the instrumental gestures on the guitar of a recent work by Arthur Kampela, Micro Study 3, which works out damping and multifonic techniques on the guitar. Aiming to focus this gestural analysis from the dynamic and expressive point of vue, we approach its geometrical and physiological aspects only briefly, focusing mainly on analytic tools borrowed from Rudolf Laban’s Eukinetic, such as the factors of movement, the basic actions of effort. and the concepts of impulse and energy. We put these notions together with some typologies of the instrumental gesture proposed by authors such as GodÁ¸y and Delalande and seek to understand the nature of sound and kinetic fluency in the mostly dry
Copyright (c) 2019 Ledice Fernandes Weiss https://creativecommons.org/licenses/by-nc-sa/4.0
Grappolo 4, obra electroacústica del compositor chileno Jorge Martínez Ulloa. Un análisis acústico, psicoacústico, y espectromorfológico, en el estudio de procesos de estructuración hallados, y como aporte a estrategias de percepción acusmática
A first reflection that allows us, as receivers and sound producers trained to develop from the sound that reaches our ears, and that is the product of the interaction with our acoustic-cultural environment, (which causes us to assume an attitude or position regarding this phenomenon), to ask ourselves about our ways of listening, is what could well allow us to make a preliminary, but necessary examination, of how to approach this electroacoustic piece. Indeed, the results obtained from this analysis, in which the study of the spectromorphology proposed by Denis Smalley was applied, will be presented, as well as considerations mainly of acoustic and psychoacoustic order that emerge from this application, which will as well offer an understanding of the nature of the structuring processes of the sound materials studied, and their articulation at the macro, meso, and micro levels, as an organizational strategy in sound perception.
Copyright (c) 2019 Andrés Mauricio Gaona Ovalle https://creativecommons.org/licenses/by-nc-sa/4.0
Los compositores de Santa Capilla en los Festivales de Música de Caracas
Composers, promoters and musical critics agree in asserting that the academic music of the Latin American creators of the new generations has little diffusion. This article allows to determine how true this affirmation is for Venezuela, focusing on a case study: Caracas between 1950 and 1970, period in which the Music Festivals of Caracas were held. We analyzed how the production of the young composers of the moment, students of the composition chair of the School "José Ángel Lamas" (School of Santa Capilla by its location), was present in those festivals that, given its trajectory, the quality of the participants and their profile, were considered a fundamental reference for Venezuela and the Latin American continent in the field of contemporary music.
Copyright (c) 2019 Silvia Restrepo, Mariantonia Palacios https://creativecommons.org/licenses/by-nc-sa/4.0
O perigo da arte by Brazilian composer Tim Rescala was premiered on October 12th 2013 at the Centro Nacional de la Música, as part of Tercer Ciclo Iberoamericano de Ópera Contemporánea, coordinated by the composer Juan Ortíz de Zárate.The work is a music theatre piece in one act, divided into twelve scenes, and written for soprano, tenor, baritone and chamber ensemble. Rescala creates both the music and the libretto. The plot refers to a critical view about visual arts business. Rescala builds a solid formal construction by means of irony, humor and an effective combination between lyrics and music. Sound gesture in relation with storytelling, and a clever development of dramatic action, reveal his vast experience in audiovisual productions and plays.
Copyright (c) 2018 Pablo Cetta https://creativecommons.org/licenses/by-nc-sa/4.0
Diario de un proceso, de Juan Ortiz de Zarate
This text analyzes the scenic piece Diario de un proceso by the composer Juan Ortiz de Zárate, taking into account the details of both the compositional construction and conceptual notions that give meaning to the piece, as well as its final staging. It is a free version of the posthumous work of Franz Kafka, The Process, deployed in a single act and with three characters on stage to which is added an audio, also voices of characters, issued by four speakers. Within the article different sections are considered such as the “idea and gestation of the work” through the first ideas of the composer where the conflict between the voice, the word and the instrumental-electroacoustic is retaken; the libretto and the “sense of music within the scene” are reviewed as devices for understanding and listening to the work and specific moments of the written score are extracted. Finally, some aspects of the staging of the piece are detailed. The piece was directed by Marcelo Delgado with the staging by Ximena Belgrano Rawson, it was performed in the National Cycle of Contemporary Opera of the year 2011.
Copyright (c) 2018 Diana Fernández Calvo https://creativecommons.org/licenses/by-nc-sa/4.0
Uqbar, by Jorge Horst, was inspired by Borges´ short story Tlön, Uqbar, Orbis Tertius. This work was premiered on October 9th 2011 in Buenos Aires at Carlos Guastavino Auditorium of the Centro Nacional de la Música. Written for three singers, chamber music ensemble and percussion, this work develops the idea of stage sound action. The piece was divided into five sections, named Isole, Yapay, Finestre, Gardens and Klangstaub, and traditional opera concept was discarded from the beginning. The piece has no text and the action is centered on sound aspects. The composer does not intend to tell a story or propose dramatic action at all, as Uqbar´s drama is shaped by sound, and sound itself is the plot.
This paper proposes an analytical approximation to the work “The Enemies” from the Ecuadorian-German composer Mesías Maiguashca (b.1938). Our proposal does not intend to overcome all the aspects covered by the analytical approach in all its dimensions. What is herein presented should be understood as a general overview, as a synthesis, warranting further investigation. In this contexte,we have created a framework that links an introductory first section, where composer´s training and aesthetic influences are reviewed with the second part using an analytical approach to study the work “The Enemies”.
Copyright (c) 2018 Arleti María Molerio Rosa https://creativecommons.org/licenses/by-nc-sa/4.0