Tambor y Mejorana: Roque Cordero's Rapsodia Panameña
Panamanian composer Roque Cordero (1917-2008) is known for his use of twelve-tone technique but also for the incorporation of Panamanian music into his compositions. However, his methods for doing so have largely remained unstudied. This article examines the methodic juxtaposition of dodecaphonic te...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2022 |
| País: | Brasil |
| Institución: | Universidade Federal de Minas Gerais (UFMG) |
| Repositorio: | Per Musi |
| Idioma: | inglés |
| OAI Identifier: | oai:periodicos.ufmg.br:article/40211 |
| Acceso en línea: | https://periodicos.ufmg.br/index.php/permusi/article/view/40211 |
| Access Level: | acceso abierto |
| Palabra clave: | Roque Cordero Latin American Composers Violin Dodecaphony Panamanian Music Compositores latinoamericanos Violino Dodecafonismo Música panamenha Violín Música Dodecafónica Música panameña |
| Sumario: | Panamanian composer Roque Cordero (1917-2008) is known for his use of twelve-tone technique but also for the incorporation of Panamanian music into his compositions. However, his methods for doing so have largely remained unstudied. This article examines the methodic juxtaposition of dodecaphonic technique and Panamanian elements in Cordero’s Rapsodia Panameña (1988) for unaccompanied violin. An analysis of the work, informed by a survey of Panamanian traditions and previous works for violin by Cordero, reveals how the composer weaves together a twelve-tone row and diatonic material built from deconstructed traditional elements through a series of strategies guided by a unified pitch center. The article further discusses Cordero’s “musical Panama” and how his youthful experiences with popular music and the study of Narciso Garay’s transcriptions contributed to his methods. |
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