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Chapter 58
Tania León
A la Par, second movement (Guaguancó)
Chapter at a Glance
Listen to This First
Percussion Timbres
Male and Female Rhythmic Lines
Parallel (Non-) Harmonies
Connect Your Playlist: Repeated Melodic-Rhythmic Figure
Chapter Objectives
After reading this chapter and listening to the work, students should be able to:
58.2 Define postmodernism in music specifically and explain the ways in which Tania
A la Par exemplifies musical postmodernism.
58.3 Listen for between tonal and atonal passages in this work.
Key Concepts
tonal versus atonal elements, percussion instruments
Chapter Highlight: Postmodernism
Postmodernism integrates modern idioms with more traditional ones. Postmodern
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Chapter Summary
Tania León grew up with both Cuban street sounds and her own piano study at the
Havana Conservatory. It is not surprising, then, that her music is a synthesis of native
Cuban folk idioms and the classical European training that was also a part of her life.
Guaguancó, the second movement of A la Par
Listening Guide
The Form column shows the ostinato sandwiched between the introduction and coda.
The guaguancó rhythm is present from the beginning to the coda, as is noted in the
Rhythm column. Bonds describes the use of atonality in different ways in the Harmony
column.
MyMusicLab Resources
Automated Listening Guide: Tania León: A la Par, second movement (Guaguancó)
Chapter Audio: Chapter 58
Discussion Topics and Critical Thinking Questions
1. Describe postmodernism. What is it a reaction to? What characteristics are defining of
the genre in art, architecture, and music? Do you prefer postmodern arts to modernism?
How do postmodern arts differ from modernism? Which form is more functional?
Activities and Exercises
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1. Listen to examples of Cuban music. Have students describe the elements using
terminology they have learned in class.
Journaling Prompt
nts, all of which
come together in her music. Can you hear evidence of different influences in A la Par?