Three codices of music in tablature for the viola (five-course guitar) are about all that remains from the seventeenth- to mid-eighteenth century Portuguese repertory for that instrument. A Spanish translation of the article can be found here: " Analyses are complemented by Rodríguez’s comments regarding his creative process. Double-plagal progressions often signify fatalism and never-ending struggle (“Sueño con serpientes” (1974), “Reino de todavía” (1994)). Differing viewpoints and emotions are often set in different keys (“Debo partirme en dos” (1969)) songs with a political message are set in simple repeating patterns (“Resumen de noticias” (1969)) and many of his love songs are highly chromatic or harmonically unstable (“Ojalá” (1969)). "This article, which analyzes 136 of Silvio Rodríguez’s over 500 songs and provides a close reading of seventeen, highlights musical patterns that recur in songs with similar themes across three periods: 1967-1970, when Rodríguez was censured 1971-1989, when nueva trova became institutionalized and post-1990, in Cuba’s Special Period.
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