| dc.description.abstract | Although the analysis of Latin American choral works of the 20th century is an underdeveloped field in the music discipline at the universities of Colombia (Zuleta, 2006), at the university environment of Medellin, the music choral works analysis production has received an increased level of importance that allows making performance decisions attending the style and intentions of the work -- This article aims to analyze and show distinctive elements of the compositional form by Calixto Álvarez in this case, under the parameter of a humanistic subject such as that of death -- This work, planned with a traditional structure has distinctive elements that make this work a very original composition, as it shows the syncretism between two cultures such as Christianity and Yoruba culture -- Since it is a recently composed work, and performed in few occasions, except the Lacrymosa section, that has been the most popular of the eleven movements of this work, there are not many analyzes in the sector of the musical theory around this topic -- So I will apply different methodologies to contribute in this analysis not only from the strictly musical point of view but also the interpretative (Lavista, 1988), also including elements contributed by SMART type of analysis as used by (Zuleta, 2006): Surface, Sound, Melody, Harmony (Armonía in Spanish), Rhythm and Text -- In this article, we will provide a detailed analysis of the Confutatis section, using that already cited SMART analysis and an interpretative analysis sustained on the relationship and originality of this work to a definite historical place, in order to answer questions like: What kind of musical language does the composer use? Which is the historical moment that allows this composition? Is there any relation between the double-language present in the work? | |
