2015
DOI: 10.1525/jams.2015.68.1.99
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Carlos Chávez’s Polysemic Style:

Abstract: The critical discourse on Carlos Chávez’s music is full of contradictions regarding the presence within it of signifiers of the Mexican, the pre-Columbian, and the indigenous. Between 1918 and 1928 Chávez in fact developed, from stylistic preferences that appeared early in his compositions, a polysemic language that he could use equally well to address the very modern or the primitive, the pre-Columbian or the contemporary mestizo, in and only in those works in which he chose to do so. Chávez’s referents emerg… Show more

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Cited by 8 publications
(6 citation statements)
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“…But a sense of the popular-and, moreover, the tonal-pervades the work. This element is visible in a variety of features, from frequent parallel thirds-a potential reference to Mexican popular styles (Mayer-Serra 1941;Saavedra 2001;-to echoes of the primary canción theme throughout. And the combination of vernacular and concert-music materials is clearly one of clashing rather than easy mixing.…”
Section: First Glancesmentioning
confidence: 99%
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“…But a sense of the popular-and, moreover, the tonal-pervades the work. This element is visible in a variety of features, from frequent parallel thirds-a potential reference to Mexican popular styles (Mayer-Serra 1941;Saavedra 2001;-to echoes of the primary canción theme throughout. And the combination of vernacular and concert-music materials is clearly one of clashing rather than easy mixing.…”
Section: First Glancesmentioning
confidence: 99%
“…16 In the 1910s, composer Manuel M. Ponce engaged in a multi-pronged campaign for the genre, giving talks and creating "polished" versions for voice with piano accompaniment. He also put canción melodies into concert works, using these melodies as cues for Mexican identity within an elite register (Madrid 2008;Saavedra 2010).…”
Section: Chelsea Burnsmentioning
confidence: 99%
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