Lovers and rulers, the real and the surreal: harmonic metaphors in Silvio Rodríguez’s songs

Fiche du document

Auteur
Date

2006

Type de document
Périmètre
Langue
Identifiants
Source

Trans. Revista Transcultural de Música

Relations

Ce document est lié à :
http://www.redalyc.org/revista.oa

Collection

REDALYC : Red de Revistas Científicas de América Latina y el Caribe, España y Portugal

Organisation

Red de Revistas Científicas de América Latina y el Caribe, España y Portugal

Licence

Trans. Revista Transcultural de Música

Mots-clés Und

Arte Cuba analysis nueva trova popular music politics—Cuba

Sujets proches En

Lieder Solo songs Arias Art songs Ariettas Songs with various acc Solo vocal music, Secular

Citer ce document

Noriko Manabe, « Lovers and rulers, the real and the surreal: harmonic metaphors in Silvio Rodríguez’s songs », Trans. Revista Transcultural de Música, ID : 10670/1.b38p6o

Métriques

Partage / Export

Résumé 0

"This article, which analyzes 136 of Silvio Rodríguez’s over 500 songs and providesa close reading of seventeen, highlights musical patterns that recur in songs withsimilar themes across three periods: 1967-1970, when Rodríguez was censured;1971-1989, when nueva trova became institutionalized; and post-1990, in Cuba’sSpecial Period. Differing viewpoints and emotions are often set in different keys(“Debo partirme en dos” (1969)); songs with a political message are set in simplerepeating patterns (“Resumen de noticias” (1969)); and many of his love songs arehighly chromatic or harmonically unstable (“Ojalᔠ(1969)). Double-plagalprogressions often signify fatalism and never-ending struggle (“Sueño conserpientes” (1974), “Reino de todavía” (1994)). Analyses are complemented byRodríguez’s comments regarding his creative process."

document thumbnail

Par les mêmes auteurs

Sur les mêmes sujets

Exporter en