Now considered among the foremost 20th century South American composers for the guitar, the Venezuelan Lauro began his musical studies on the piano and violin. This lesson will explore its polymeters and hemiolas, Romanticism, right-hand control, and left-hand stretching. La Negra, by Antonio Lauro (1917–1986), is a lyrical vals venezolano (Venezuelan waltz) composed in 1976. The result of the work can be attributed in the work Aporia, in which they dealt with some of the aesthetic issues, language and intertextual proposals.BY RHAYN JOOSTE | FROM THE SPRING 2018 ISSUE OF CLASSICAL GUITAR
There was also an approximation of intertextual theory to postmodernism, ascertained in discussions on the subject. Concurrently, we musically developed some of the specific features related to the literature, such as heading, quotation, parody, among others. This routing pointed to an idiomatic intertextuality. This provided compositional design parameters arising intertextual and idiomatic (guitar), where some compositional attitudes were treated. We analyzed proceedings where the idiomatic can be used as a feasible compositional tool, especially in the universe of guitar. It was found in Guinga's repertoire world a dialogue with various trends and an accurate sense of idiomatic usage of their guitar songs accompaniment.
The songs were chosen by the Brazilian composer Guinga (1950), for voice and guitar, as "source text" in order to use it as a musical production of compositional and analytical support. The bibliographic clipping literature - Bakhtin (2010), Kristeva (2005), Genette (2006), Bloom (2002) and Sant'Anna (2003) - relates to authors in the field of music through the eyes of intertextual theory. The discussion is relevant considering the growing interest in the subject and its applicability in Music. Bearing in mind that the paths to compositional activity can permeate a specific approach, this paper seeks to direct it to the intertextual bias to compose work for guitar and orchestra.
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