{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/26022"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/26022","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"Jack Délano’s (1914-1997) Burundanga or Cantata Antillana: an art-music portrayal of Luis Palés Matos’s (1898-1959) black Caribbean","abstract":"This is an analytical study of \"Burundanga\" or \"Cantata Antillana\" by Jack Délano (1914-1997). One of Délano’s most ambitious choral-orchestral compositions, \"Burundanga\" was completed in 1989 in response to a commission from the Institute of Puerto Rican Culture and is based on Luis Palés Matos’s (1898-1959) extravagant and elaborate poem \"Canción festiva para ser llorada\" (A Festive Song to be Wept). \"Burundanga\" stands at the foreground of Puerto Rican art-music in the twentieth century. With its neoclassical language and integration of Caribbean folkloric material, it emerges as a unique reflection of the highly complex geographical, social, cultural and musical reality of Puerto Rico and the Antilles. The analysis underscores the relationships between the textual images and the musical resources employed in their setting, focusing on the composition’s formal, melodic, harmonic, rhythmic, orchestrational and expressive elements. It also discerns particular methods by which the composer utilized and adapted Afro-Antillean idioms and combined them with art-music components to portray idiosyncratic aspects of Caribbean culture in a universalistic musical language.","abstract_html":"This is an analytical study of "Burundanga" or "Cantata Antillana" by Jack Délano (1914-1997). One of Délano’s most ambitious choral-orchestral compositions, "Burundanga" was completed in 1989 in response to a commission from the Institute of Puerto Rican Culture and is based on Luis Palés Matos’s (1898-1959) extravagant and elaborate poem "Canción festiva para ser llorada" (A Festive Song to be Wept). "Burundanga" stands at the foreground of Puerto Rican art-music in the twentieth century. With its neoclassical language and integration of Caribbean folkloric material, it emerges as a unique reflection of the highly complex geographical, social, cultural and musical reality of Puerto Rico and the Antilles. The analysis underscores the relationships between the textual images and the musical resources employed in their setting, focusing on the composition’s formal, melodic, harmonic, rhythmic, orchestrational and expressive elements. It also discerns particular methods by which the composer utilized and adapted Afro-Antillean idioms and combined them with art-music components to portray idiosyncratic aspects of Caribbean culture in a universalistic musical language.","abstract_has_math":false,"creators":["Tapia-Santiago, Daniel A."],"institution":"University of Illinois at Urbana-Champaign","degree_name":"A.Mus.D.","degree_level":"Dissertation","degree_discipline":"Music","degree_department":null,"school":null,"contributors":["Alwes, Chester L.","Moersch, Charlotte Mattax","Taylor, Stephen A.","Ward, Thomas R."],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2011,"date_issued":"2011-08-25T22:09:22Z","date_published":"2011-08-25T22:09:22Z","updated_at":"2026-07-22T22:25:26Z","subjects":["Jack Délano","Burundanga","Luis Palés Matos","Canción festiva para ser llorada","Cantata Antillana","Puerto Rican choral-orchestral compositions","Puerto Rican choral music","Caribbean art-music"],"languages":["en"],"rights":["Copyright© 2011 Daniel A. 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With its neoclassical language and integration of Caribbean folkloric material, it emerges as a unique reflection of the highly complex geographical, social, cultural and musical reality of Puerto Rico and the Antilles. The analysis underscores the relationships between the textual images and the musical resources employed in their setting, focusing on the composition’s formal, melodic, harmonic, rhythmic, orchestrational and expressive elements. It also discerns particular methods by which the composer utilized and adapted Afro-Antillean idioms and combined them with art-music components to portray idiosyncratic aspects of Caribbean culture in a universalistic musical language.","Item withdrawn by Mark Zulauf (zulauf@illinois.edu) on 2011-07-11T13:51:29Z Item was in collections: University of Illinois Theses & Dissertations (ID: 1) No. of bitstreams: 1 Tapia-Santiago_Daniel A.pdf: 12318861 bytes, checksum: 07ea7953c8f9c9cf30fd26cd40ca1ec9 (MD5)","Made available in DSpace on 2011-08-25T22:09:22Z (GMT). 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