La pregunta por la forma en la música sinfónica de Oscar Strasnoy

Pablo Fessel

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The question about form in the symphonic music of Oscar Strasnoy

Authors

Pablo Fessel Universidad de Buenos Aires https://orcid.org/0000-0002-2429-9452

Vol. 75 No. 235 (2021): Enero - Junio

Abstract

The reintroduction of genres in late twentieth-century concert music, as well as the diversification of intertextual procedures, resulted in an intense debate regarding their aesthetic and historical orientations. The article analyzes two works by the Argentinean composer Oscar Strasnoy: Sum, four pieces for symphonic orchestra (2005-11); and Trois caprices de Paganini (2011), a concert for violin and orchestra. It is proposed that the appeal to history is inscribed in this case in a late-modernist orientation, as an aesthetic nominalism that detaches the works from their contexts (historical or stylistic), identifying elements of modernity in expressions of the past that enter into a dialogue with contemporary musical thought.

Keywords:

Argentine Contemporary Music, Orchestral Music, Intertextuality, Musical Form, Aesthetic Nominalism

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How to Cite

Fessel, P. (2021). The question about form in the symphonic music of Oscar Strasnoy. Revista Musical Chilena, 75(235), pp. 201–216. Retrieved from https://monitoraraucano.uchile.cl/index.php/RMCH/article/view/53815