Portal de Periódicos da CAPES

Tambor y Mejorana

2022; Escola de Música da UFMG; Issue: 42 Linguagem: Inglês

10.35699/2317-6377.2022.40211

2317-6377

Samuel Robles,

Media and Digital Communication

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.