An analytical approach to Harold Gramatges's Mobile III
The study of the works belonging to the musical avant-garde of the 1960s is still a pending task for Musicology. This research carries out the musical analysis of Mobile III for flute and piano by the Cuban composer Harold Gramatges Leyte-Vidal (Santiago de Cuba, 1918-Havana, 2008), using the score,...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Editorial de la Facultad de Artes
2023
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/avances/article/view/41724 |
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| Sumario: | The study of the works belonging to the musical avant-garde of the 1960s is still a pending task for Musicology. This research carries out the musical analysis of Mobile III for flute and piano by the Cuban composer Harold Gramatges Leyte-Vidal (Santiago de Cuba, 1918-Havana, 2008), using the score, sound recording and graphics specially generated for this work. With the aim of revealing and assessing the multiple elements that make up the musical discourse, two graphs were designed to help the reader fully understand the work by visualizing variables such as dynamics-intensity, registers, tempometry and timbre. These graphs are the result of the analyst's interpretation, and are not related to the visuality of the score being studied or the composer's comments during the interviews. The associations of timbres in colors, of intensities/tempos in lines, and of determined/indeterminate textures in geometric figures, helped the analyst to decode the sound discourse of Mobile III.
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