The Musical Language of Alberto Ginastera’s Panambí and the Influence of Claude Debussy’s La Mer and Igor Stravinsky’s Le Sacre Du Printemps

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Alberto Ginastera completed his ballet Panambí in 1937. The ballet was arranged as a symphonic suite, and was performed the same year at the Teatro Colon in Buenos Aires, conducted by Juan José Castro. Panambí marked the beginning of Alberto Ginastera’s long and successful career as an Argentine composer. Chapter I of this document provides a brief introduction into the history behind Alberto Ginastera’s Panambí suite, and includes a review of the research that is exclusively devoted to the suite, as well as documents that do not provide direct analyses of Panambí, but contain information that aid in a better ... continued below

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Lovern, Kenneth R. December 2015.

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  • Lovern, Kenneth R.

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Alberto Ginastera completed his ballet Panambí in 1937. The ballet was arranged as a symphonic suite, and was performed the same year at the Teatro Colon in Buenos Aires, conducted by Juan José Castro. Panambí marked the beginning of Alberto Ginastera’s long and successful career as an Argentine composer. Chapter I of this document provides a brief introduction into the history behind Alberto Ginastera’s Panambí suite, and includes a review of the research that is exclusively devoted to the suite, as well as documents that do not provide direct analyses of Panambí, but contain information that aid in a better understanding of the suite’s composition. Chapter II includes analyses of the suite that illustrate important elements that contribute to the structure and sound of the Panambí suite. These components include Ginastera’s construction of the La Noche theme found in the first movement and its use as a master set, his use of diatonic collections and pitch centricity, the importance of unordered pitch class intervals IC1 and IC6, his use of aggregate completion as a compositional method, and his use of local motives over larger spans of temporal space. Chapter III explores the possibility that many of these compositional methods are due to the influence of Claude Debussy’s La Mer and Igor Stravinsky’s Le Sacre du Printmeps. The “guitar chord” may also be the result of the influence of Debussy’s La Mer.

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  • December 2015

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  • March 20, 2016, 10:34 a.m.

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  • Feb. 6, 2018, 8:36 a.m.

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Lovern, Kenneth R. The Musical Language of Alberto Ginastera’s Panambí and the Influence of Claude Debussy’s La Mer and Igor Stravinsky’s Le Sacre Du Printemps, thesis, December 2015; Denton, Texas. (digital.library.unt.edu/ark:/67531/metadc822749/: accessed January 17, 2019), University of North Texas Libraries, Digital Library, digital.library.unt.edu; .