{"id":{"repo_id":"baylor","oai_identifier":"oai:baylor-ir.tdl.org:2104/14843"},"canonical_url":"https://search.dev.ndltd.org/etd/baylor/oai:baylor-ir.tdl.org:2104/14843","repository":{"repo_id":"baylor","name":"Baylor University","base_url":"https://baylor-ir.tdl.org/server/oai/request"},"display":{"title":"Cuban Alleluia, piano concerto.","abstract":"Cuban Alleluia is a concerto for piano and orchestra written in three movements. These movements are based on the rhythmic pattern of the ‘Cuban Cinquillo’, which recurs throughout the piece, creating a sense of unity among its various sections. The piece is intended as a hymn of praise to God, while evoking the rhythms and sonorities of Cuban music from a contemporary perspective. This article focuses on the musical and contextual analysis of the piano concerto Cuban Alleluia. The figures were extracted from the original score, and the analysis was conducted by the composer.","abstract_html":"Cuban Alleluia is a concerto for piano and orchestra written in three movements. These movements are based on the rhythmic pattern of the ‘Cuban Cinquillo’, which recurs throughout the piece, creating a sense of unity among its various sections. The piece is intended as a hymn of praise to God, while evoking the rhythms and sonorities of Cuban music from a contemporary perspective. This article focuses on the musical and contextual analysis of the piano concerto Cuban Alleluia. 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