Memory and Time: The Poetics of Julio Estrada's String Quartets.
In this article I will present some of the underlying theoretical and aesthetic aspects in Julio Estrada's string quartets. While the first quartet aims to reassess the harmonic and contrapuntal relationships present in the tonal system through an original approach to finite-group theory, the second...
| Publicado en: | Contemporary Music Review Vol. 32; no. 4; pp. 325 - 340 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Aug2013
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=89660124&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 89660124 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 07494467 7VR jtl: Contemporary Music Review issn: 07494467 maglogo: N pubinfo: dt: Aug2013 vid: 32 iid: 4 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 89660124 10.1080/07494467.2013.806750 ppf: 325 ppct: 15 formats: fmt: – @attributes: type: T – @attributes: type: P size: 709KB tig: atl: Memory and Time: The Poetics of Julio Estrada's String Quartets. aug: au: Velázquez (translated by David Bevis), Rossana Lara su: Estrada, Julio String quartets -- History & criticism Stringed instrument instruction Musicology Serialism (Musical composition) Fugue (Musical form) sug: subj: Estrada, Julio String quartets -- History & criticism Stringed instrument instruction Musicology Serialism (Musical composition) Fugue (Musical form) keyword: Chronographical Record Continuum/Discontinuum Estrada Group Theory Julio (1943–) Julio (1943–) Macro-Timbre ab: In this article I will present some of the underlying theoretical and aesthetic aspects in Julio Estrada's string quartets. While the first quartet aims to reassess the harmonic and contrapuntal relationships present in the tonal system through an original approach to finite-group theory, the second quartet comprises a total renewal of Estrada's compositional method that detaches itself from previous, established compositional systems to conceive sound in a more sculptural way. To attain his ideal, Estrada proposes to record the movements and evolution of the sonic (or any perceived or imagined) substance in a graphical way, obtaining different information as its trajectory is observed from different angles. All of the information provided by the graphical recordings is assigned to musical components and converted into an extremely detailed musical score. Although these two quartets synthesise two different stages in Estrada's work, marked respectively by his approach to discontinuum and continuum in music, they share some basic principles inspired by finite-group theory. In particular, the aspects of the compositional method proposed in his second quartet will be discussed with sketches provided by the composer. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Contemporary Music Review is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Contemporary Music Review holder: Taylor & Francis Ltd dt: @attributes: year: 2013 holdings: @attributes: islocal: N |
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