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The Compositional Process The Compositional Process
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Composing before Being a Composer Composing before Being a Composer
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Tones: A Modernist Ballet for Arthur Mitchell Tones: A Modernist Ballet for Arthur Mitchell
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In Conversation with Léon In Conversation with Léon
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Analytical Discussion Analytical Discussion
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Assessment Assessment
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Haiku: Flirting with the Avant-Garde Haiku: Flirting with the Avant-Garde
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In Conversation with Léon In Conversation with Léon
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Analytical Discussion Analytical Discussion
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Assessment Assessment
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Four Pieces for Violoncello: El tumbao de papá Four Pieces for Violoncello: El tumbao de papá
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In Conversation with Léon In Conversation with Léon
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Analytical Discussion Analytical Discussion
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Assessment Assessment
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Batá: Embracing the Past, Looking into the Future Batá: Embracing the Past, Looking into the Future
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In Conversation with Léon In Conversation with Léon
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Analytical Discussion Analytical Discussion
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Assessment Assessment
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Carabalí: A Spirit that Cannot Be Broken Carabalí: A Spirit that Cannot Be Broken
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In Conversation with Léon In Conversation with Léon
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Analytical Discussion Analytical Discussion
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Assessment Assessment
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Indígena: Of Accent and Identity Indígena: Of Accent and Identity
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In Conversation with León In Conversation with León
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Analytical Discussion Analytical Discussion
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Assessment Assessment
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Horizons: Episode in the Life of a Flying Composer Horizons: Episode in the Life of a Flying Composer
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In Conversation with León In Conversation with León
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Analytical Discussion Analytical Discussion
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Assessment Assessment
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Axon: Making New Sounds Out of Old Sounds Axon: Making New Sounds Out of Old Sounds
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In Conversation with León In Conversation with León
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Analytical Discussion Analytical Discussion
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Assessment Assessment
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E pluribus unum: A Voice that Contains Many Voices E pluribus unum: A Voice that Contains Many Voices
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5 Voice: Style and Idea in the Music of Tania León
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Published:December 2021
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Abstract
This chapter explores the complex aesthetic, artistic, and cultural dynamics that have shaped how León developed a uniquely personal musical style and a compositional voice. In doing this, the chapter examines both the sonorities León uses often “just because she likes them,” the techniques she uses that are part of larger, shared compositional rhetorical strategies—which in tandem provide an understanding of her musical style—as well the ideas behind her music. By developing an experimental “polyphonic” perspective to music analysis akin to “contrapuntal listening,” this chapter intends to provide a fuller account of an artistic voice that encompasses many voices.
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