The Twelve-Tone Music of Roque Cordero
Bibliographic Data
| ID | 4935901 |
|---|---|
| Authors | Jeremy Orosz (0009-0000-3777-9394, corresponding author) |
| Year | 2018 |
| Volume | 39 |
| Issue | 2 |
| Pages | 137-159 |
| Publication date | 2018-12-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Latin American Music Review (JOURNAL) |
| Journal identifiers | ISSN: 0163-0350 • E-ISSN: 1536-0199 |
| Publisher | Project MUSE (PUBLISHER • US) |
| DOI | 10.7560/lamr39201 |
| OpenAlex | W2913100275 |
| Language | EN |
| Citations received | 2 |
| References cited | 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
| Citations per year | 0.5 |
|---|---|
| Citation span | 2022 - 2023 (2) |
| Highly cited | No |