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| Formato: | Artículo científico |
| Lenguaje: | en |
| Publicado: |
Sociedad de Etnomusicología
2006
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| Acceso en línea: | https://www.redalyc.org/articulo.oa?id=82201013 |
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| _version_ | 1866817280168427520 |
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| author | Noriko Manabe |
| author_facet | Noriko Manabe |
| contents | Lovers and rulers, the real and the surreal: harmonic metaphors in Silvio Rodríguezs songs Noriko Manabe Arte Cuba analysis nueva trova popular music politicsCuba This article, which analyzes 136 of Silvio Rodríguezs 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 CubasSpecial 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 (Ojalá (1969)). Double-plagalprogressions often signify fatalism and never-ending struggle (Sueño conserpientes (1974), Reino de todavía (1994)). Analyses are complemented byRodríguezs comments regarding his creative process. 2006 artículo científico 1697-0101 https://www.redalyc.org/articulo.oa?id=82201013 en http://www.redalyc.org/revista.oa?id=822 Trans. Revista Transcultural de Música application/pdf Sociedad de Etnomusicología Trans. Revista Transcultural de Música (España) Num.10 |
| format | Artículo científico |
| id | redalyc_82201013 |
| language | en |
| publishDate | 2006 |
| publisher | Sociedad de Etnomusicología |
| spellingShingle | Lovers and rulers, the real and the surreal: harmonic metaphors in Silvio Rodríguezs songs Noriko Manabe Arte Cuba analysis nueva trova popular music politicsCuba Lovers and rulers, the real and the surreal: harmonic metaphors in Silvio Rodríguezs songs Noriko Manabe Arte Cuba analysis nueva trova popular music politicsCuba This article, which analyzes 136 of Silvio Rodríguezs 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 CubasSpecial 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 (Ojalá (1969)). Double-plagalprogressions often signify fatalism and never-ending struggle (Sueño conserpientes (1974), Reino de todavía (1994)). Analyses are complemented byRodríguezs comments regarding his creative process. 2006 artículo científico 1697-0101 https://www.redalyc.org/articulo.oa?id=82201013 en http://www.redalyc.org/revista.oa?id=822 Trans. Revista Transcultural de Música application/pdf Sociedad de Etnomusicología Trans. Revista Transcultural de Música (España) Num.10 |
| title | Lovers and rulers, the real and the surreal: harmonic metaphors in Silvio Rodríguezs songs |
| topic | Arte Cuba analysis nueva trova popular music politicsCuba |
| url | https://www.redalyc.org/articulo.oa?id=82201013 |