Tambor y Mejorana: Roque Cordero's Rapsodia Panameña

Detalhes bibliográficos
Autor(a) principal: Robles, Samuel
Data de Publicação: 2022
Tipo de documento: Artigo
Idioma: eng
Título da fonte: Per Musi
Texto Completo: https://periodicos.ufmg.br/index.php/permusi/article/view/40211
Resumo: 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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spelling Tambor y Mejorana: Roque Cordero's Rapsodia PanameñaTambor y Mejorana: la Rapsodia panameña de Roque CorderoTambor y Mejorana: a Rapsodia panamenha de Roque CorderoRoque CorderoLatin American ComposersViolinDodecaphonyPanamanian MusicRoque CorderoCompositores latinoamericanosViolinoDodecafonismoMúsica panamenhaRoque CorderoCompositores latinoamericanosViolínMúsica DodecafónicaMúsica panameñaPanamanian 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.El compositor panameño Roque Cordero (1917-2008) es conocido por su uso de la técnica dodecafónica, pero más allá de eso por la incorporación de la música panameña en sus composiciones. Sin embargo, sus métodos para este fin aún no han sido ampliamente estudiados. Este trabajo examina la yuxtaposición metódica de la técnica dodecafónica y los elementos panameños en la Rapsodia Panameña (1988) de Cordero para violín solo. El análisis de la obra, basado en el estudio de las tradiciones panameñas y de las anteriores obras para violín de Cordero, revela cómo el compositor entrelaza una serie de materiales dodecafónicos y diatónicos compuestos a partir de elementos tradicionales deconstruidos mediante un conjunto de estrategias guiadas por un centro tonal unificado. El artículo también habla del "Panamá musical" de Cordero y de cómo sus experiencias juveniles con la música popular y el estudio de las transcripciones de Narciso Garay contribuyeron a sus métodos.O compositor panamenho Roque Cordero (1917-2008) é conhecido por seu uso da técnica dodecafônica, mas além pela incorporação da música panamenha em suas composições. No entanto, seus métodos para este fim não foram ainda amplamente estudados. Este artigo examina a justaposição metódica da técnica dodecafônica e dos elementos panamenses na Rapsodia Panameña de Cordero (1988) para violino solo. A análise da obra, informada por um estudo das tradições panamenhas e de obras anteriores para violino de Cordero, revela como o compositor tece juntos uma série dodecafônica e material diatônico composto a partir de elementos tradicionais desconstruídos através de um conjunto de estratégias guiadas por um centro tonal unificado. O artigo discute ainda o "Panamá musical" de Cordero e como suas experiências juvenis com a música popular e o estudo das transcrições de Narciso Garay contribuíram para seus métodos.Universidade Federal de Minas Gerais (UFMG)2022-08-25info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersiontexttextinfo:eu-repo/semantics/othertext/htmltext/xmlapplication/pdfhttps://periodicos.ufmg.br/index.php/permusi/article/view/4021110.35699/2317-6377.2022.40211Per Musi; No. 42 (2022): General TopicsPer Musi; Núm. 42 (2022): General TopicsPer Musi; n. 42 (2022): General Topics2317-63771517-7599reponame:Per Musiinstname:Universidade Federal de Minas Gerais (UFMG)instacron:UFMGenghttps://periodicos.ufmg.br/index.php/permusi/article/view/40211/37479https://periodicos.ufmg.br/index.php/permusi/article/view/40211/37480https://periodicos.ufmg.br/index.php/permusi/article/view/40211/31200Copyright (c) 2022 Per Musihttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessRobles, Samuel2023-10-14T00:15:12Zoai:periodicos.ufmg.br:article/40211Revistahttp://www.scielo.br/revistas/pm/iaboutj.htmPUBhttps://old.scielo.br/oai/scielo-oai.phpantoniom@fgvnf.br||permusi@ufmg.br2317-63771517-7599opendoar:2023-10-14T00:15:12Per Musi - Universidade Federal de Minas Gerais (UFMG)false
dc.title.none.fl_str_mv Tambor y Mejorana: Roque Cordero's Rapsodia Panameña
Tambor y Mejorana: la Rapsodia panameña de Roque Cordero
Tambor y Mejorana: a Rapsodia panamenha de Roque Cordero
title Tambor y Mejorana: Roque Cordero's Rapsodia Panameña
spellingShingle Tambor y Mejorana: Roque Cordero's Rapsodia Panameña
Robles, Samuel
Roque Cordero
Latin American Composers
Violin
Dodecaphony
Panamanian Music
Roque Cordero
Compositores latinoamericanos
Violino
Dodecafonismo
Música panamenha
Roque Cordero
Compositores latinoamericanos
Violín
Música Dodecafónica
Música panameña
title_short Tambor y Mejorana: Roque Cordero's Rapsodia Panameña
title_full Tambor y Mejorana: Roque Cordero's Rapsodia Panameña
title_fullStr Tambor y Mejorana: Roque Cordero's Rapsodia Panameña
title_full_unstemmed Tambor y Mejorana: Roque Cordero's Rapsodia Panameña
title_sort Tambor y Mejorana: Roque Cordero's Rapsodia Panameña
author Robles, Samuel
author_facet Robles, Samuel
author_role author
dc.contributor.author.fl_str_mv Robles, Samuel
dc.subject.por.fl_str_mv Roque Cordero
Latin American Composers
Violin
Dodecaphony
Panamanian Music
Roque Cordero
Compositores latinoamericanos
Violino
Dodecafonismo
Música panamenha
Roque Cordero
Compositores latinoamericanos
Violín
Música Dodecafónica
Música panameña
topic Roque Cordero
Latin American Composers
Violin
Dodecaphony
Panamanian Music
Roque Cordero
Compositores latinoamericanos
Violino
Dodecafonismo
Música panamenha
Roque Cordero
Compositores latinoamericanos
Violín
Música Dodecafónica
Música panameña
description 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.
publishDate 2022
dc.date.none.fl_str_mv 2022-08-25
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dc.identifier.uri.fl_str_mv https://periodicos.ufmg.br/index.php/permusi/article/view/40211
10.35699/2317-6377.2022.40211
url https://periodicos.ufmg.br/index.php/permusi/article/view/40211
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dc.language.iso.fl_str_mv eng
language eng
dc.relation.none.fl_str_mv https://periodicos.ufmg.br/index.php/permusi/article/view/40211/37479
https://periodicos.ufmg.br/index.php/permusi/article/view/40211/37480
https://periodicos.ufmg.br/index.php/permusi/article/view/40211/31200
dc.rights.driver.fl_str_mv Copyright (c) 2022 Per Musi
http://creativecommons.org/licenses/by/4.0
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2022 Per Musi
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eu_rights_str_mv openAccess
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dc.publisher.none.fl_str_mv Universidade Federal de Minas Gerais (UFMG)
publisher.none.fl_str_mv Universidade Federal de Minas Gerais (UFMG)
dc.source.none.fl_str_mv Per Musi; No. 42 (2022): General Topics
Per Musi; Núm. 42 (2022): General Topics
Per Musi; n. 42 (2022): General Topics
2317-6377
1517-7599
reponame:Per Musi
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repository.name.fl_str_mv Per Musi - Universidade Federal de Minas Gerais (UFMG)
repository.mail.fl_str_mv antoniom@fgvnf.br||permusi@ufmg.br
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