The Harp Concerto, Op. 25 by Alberto Ginastera holds an important place in the harp repertoire, as it is one of the longest and most virtuosic concerti, and yet even the most prominent Ginastera scholars have not included it in their analyses. This study examines Ginastera's musical styles and how they are combined in the Harp Concerto to create a piece that both portrays Ginastera’s Argentine heritage and appeals to an international music audience through the use of contemporary compositional techniques.
The overarching styles used in the Harp Concerto are Argentine Nationalism and Neo-Expressionism. Argentine Nationalism is seen in Ginastera's use of the malambo rhythm, special effects that mimic guitar writing, the guitar chord, and specific melodic figures and orchestral textures. Aspects of Neo-Expressionism include the replacement of traditional harmony with large clusters, the prominence of the (0167) tetrachord, the presence of a twelve-tone row, an overall increase in chromaticism, and the use of extended harp techniques.
Argentine traits are present throughout several of Ginastera's Neo-Expressionistic compositions; however, the Harp Concerto stands out because of the clarity with which each style is incorporated, as well as in the unique way in which they are combined.
| Identifer | oai:union.ndltd.org:arizona.edu/oai:arizona.openrepository.com:10150/625590 |
| Date | January 2017 |
| Creators | Green, Rachel Kay, Green, Rachel Kay |
| Contributors | Patterson, Tom, Patterson, Tom, Alejo, Phillip, Reid, Ed, Vivona, Christine |
| Publisher | The University of Arizona. |
| Source Sets | University of Arizona |
| Language | en_US |
| Detected Language | English |
| Type | text, Electronic Dissertation |
| Rights | Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. |
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