This article aims to analyze the work Móvil I (1969) by the Cuban composer Harold Gramatges (Santiago de Cuba, 1918 - Havana, 2008). To achieve this purpose, the Molino-Nattiez analytical model is implemented, the use of graphs and tables is used to help assess macros and microstructures, and I also relied on other tools such as set theory. I will try to show that the Móvil I continues the Cuban piano tradition, despite the incorporation of the new musical resources of the 60s.
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