El objeto musical como recurso expresivo composicional en Intihuatana de Celso Garrido-Lecca

Nicolas Rubio Amoretti

doi:10.62230/antec.v10i1.314

Authors

Nicolas Rubio Amoretti Universidad Nacional de Música https://orcid.org/0009-0008-4615-7974

DOI:

https://doi.org/10.62230/antec.v10i1.314

Keywords:

Musical object, Semiotics, Composition, Celso Garrido-Lecca

Abstract

This article analyzes Intihuatana (1967) for string quartet by Celso Garrido-Lecca, with the aim of examining how the musical object functions as an expressive compositional resource in this work. Based on a semiotic approach grounded in the tripartite model, the analysis articulates the neutral level with the inductive and external esthesic levels, understood as tools for examining the perceptual projection of the sonic material. The work is constructed as an abstract musical reinterpretation of the solar clock Intihuatana, in which the musical object organizes the perception of cyclical time, textural density, and the evocation of a soundscape of a mystical character. In this way, the musical object is established as the central axis of the compositional discourse and the expressive meaning of the work.

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Author Biography

Nicolas Rubio Amoretti, Universidad Nacional de Música

Nicolas Rubio Amoretti is a music composer trained at the Universidad Nacional de Música and the Pontificia Universidad Católica del Perú. His work is oriented toward the exploration of texture and timbre in contemporary music across a variety of instrumental formats, both in composition and in the study of musical works. He has presented works at contemporary music festivals in Lima and has complemented his training through workshops and masterclasses with Latin American composers. In parallel, he is professionally active in the field of composition for audiovisual media.

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