The Twelve-Tone Music of Roque Cordero
Datos Bibliográficos
| ID | 4935901 |
|---|---|
| Autores | Jeremy Orosz (0009-0000-3777-9394, autor de correspondencia) |
| Año | 2018 |
| Volumen | 39 |
| Número | 2 |
| Páginas | 137-159 |
| Fecha de publicación | 2018-12-01 |
| Open Access | No |
| Tipo | ARTICLE |
| Revista | Latin American Music Review (JOURNAL) |
| Identificadores de la revista | ISSN: 0163-0350 • E-ISSN: 1536-0199 |
| Editorial | Project MUSE (PUBLISHER • US) |
| DOI | 10.7560/lamr39201 |
| OpenAlex | W2913100275 |
| Idioma | EN |
| Citas recibidas | 2 |
| Referencias citadas | 4 |
The works of Panamanian composer Roque Cordero (1917–2008), despite their prominence, remain understudied and poorly understood. Most authors describe Cordero’s music as serial but not “strictly” so. Thorough analysis reveals that such a characterization is unfounded, as Cordero employs comparable techniques of row development to those found in the mature works of renowned composers such as Schoenberg, Webern, and Babbitt. This article demonstrates that Cordero’s approach to twelve-tone method was anything but “loose” and explores why such misperceptions have gone unquestioned for six decades
Art · Babbitt · Bartok · Literature · Musical · Visual arts · Diverse Musicological Studies · Engineering · Music History and Culture · Theater, Performance, and Music History
| Citas por año | 0,5 |
|---|---|
| Intervalo de citas | 2022 - 2023 (2) |
| Altamente citado | No |