Journal article Open Access

Lovers and Rulers, the Real and the Surreal: Harmonic Metaphors in Silvio Rodriguez¿s Songs.

Manabe, Noriko


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  <identifier identifierType="DOI">10.5281/zenodo.1063704</identifier>
  <creators>
    <creator>
      <creatorName>Manabe, Noriko</creatorName>
      <givenName>Noriko</givenName>
      <familyName>Manabe</familyName>
    </creator>
  </creators>
  <titles>
    <title>Lovers and Rulers, the Real and the Surreal: Harmonic Metaphors in Silvio Rodriguez¿s Songs.</title>
  </titles>
  <publisher>Zenodo</publisher>
  <publicationYear>2006</publicationYear>
  <dates>
    <date dateType="Issued">2006-01-01</date>
  </dates>
  <resourceType resourceTypeGeneral="Text">Journal article</resourceType>
  <alternateIdentifiers>
    <alternateIdentifier alternateIdentifierType="url">https://zenodo.org/record/1063704</alternateIdentifier>
  </alternateIdentifiers>
  <relatedIdentifiers>
    <relatedIdentifier relatedIdentifierType="DOI" relationType="IsVersionOf">10.5281/zenodo.1063703</relatedIdentifier>
  </relatedIdentifiers>
  <rightsList>
    <rights rightsURI="https://creativecommons.org/licenses/by-nd/4.0/legalcode">Creative Commons Attribution No Derivatives 4.0 International</rights>
    <rights rightsURI="info:eu-repo/semantics/openAccess">Open Access</rights>
  </rightsList>
  <descriptions>
    <description descriptionType="Abstract">This article, which analyzes 136 of Silvio Rodríguez's over 500 songs and provides a close reading of seventeen, highlights musical patterns that recur in songs with similar themes across three periods: 1967-1970, when Rodríguez was censured; 1971-1989, when nueva trova became institutionalized; and post-1990, in Cuba's Special Period. Differing viewpoints and emotions are often set in different keys ("Debo partirme en dos" (1969)); songs with a political message are set in simple repeating patterns ("Resumen de noticias" (1969)); and many of his love songs are highly chromatic or harmonically unstable ("Ojalá" (1969)). Double-plagal progressions often signify fatalism and never-ending struggle ("Sueño con serpientes" (1974), "Reino de todavía" (1994)). Analyses are complemented by Rodríguez's comments regarding his creative process.</description>
  </descriptions>
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