The Joropo in Venezuela’s Musical Modernity: Cultural Capital in José Clemente Laya’s Sonata Venezolana

Authors

  • Ludim Rebeca Pedroza Texas State University

DOI:

https://doi.org/10.4312/mz.52.1.51-72

Keywords:

Joropo, Sonata, Laya, analysis, Venezuela, nationalism

Abstract

The Venezuelan Escuela Nacional Moderna (1930s–40s) considered the joropo folk dance an inherently rich musical expression that demanded the spotlight of artistic autonomy. José Clemente Laya’s Sonata venezolana (1946) demonstrates how these composers transformed the framework of sonata form with the joropo’s musical presence.

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Author Biography

  • Ludim Rebeca Pedroza, Texas State University

    Ludim Rebeca PEDROZA (ludimpedroza@txstate.edu) is Assistant Professor of Music at Texas State University, where she teaches music history, piano techniques, and several graduate surveys of the music of Latin America. Her research focuses on the historical-aesthetic formation of ideologies of music, and the junction(s) between academic and popular musical cultures.

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Published

27. 06. 2016

Issue

Vol. 52 No. 1 (2016)

Section

Articles

License

Copyright (c) 2016 Ludim Rebeca Pedroza

Creative Commons License

This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.

How to Cite

Rebeca Pedroza, L. (2016). The Joropo in Venezuela’s Musical Modernity: Cultural Capital in José Clemente Laya’s Sonata Venezolana. Musicological Annual, 52(1), 51-72. https://doi.org/10.4312/mz.52.1.51-72
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