Music as Form
Katia Chornik · 2017
In this chapter, the author explores the subject of time measurement through music returns in El acoso , and in a prominent way. El acoso&s;s conception appears to be guided by the principles of the unities of time, place and action developed by Renaissance and post-Renaissance critics after Aristotle&s;s theory of tragedy. Emil Volek uses Leante&s;s text as the starting point for his analysis of El acoso&s;s structure. In nineteenth-century theory of musical form, the first part of a sonata form is the exposition, in which the primary thematic material for the full movement is presented. Carpentier took up his own challenge and attempted to integrate the model of sonata form into the construction of El acoso , set in Cuba during the 1930s student-led revolution that overthrew the dictator Gerardo Machado, in which the author personally participated. In El acoso , Carpentier attains such differentiation by manipulating the chronological sequence of events in Part II in a prominent way.