Estética de las conexiones parciales en la composición musical iluminaciones de Juan Campoverde

Abstract

This article is based on the concepts of Cannibal Aesthetics, Theory of Form and the Aesthetics of Partial Connections, formulated by Carlos Rojas in the project Theory of Form: artistic and theoretical strategies for overcoming the postmodern canon of University of Cuenca, Ecuador, carried out between 2017 - 2018, research in which I participated in the discipline of musicological studies. The method of semiotic musical analysis of J.J. Nattiez (1987) and Jean Molino (1975) has been applied because it presents three instances of human works: neutral level, poetic level and aesthetic level. The neutral level analyzes the musical composition, the poetic level describes the composer's motivations to create this work and third level applies the aesthetics of partial connections for the interpretation of meaning. Musical semiotics is concerned with studying musical signs and their relationships, musical meaning, and the ability to submit to the subjective perception of the viewer. Applying this method in the musical composition Iluminaciones by Juan Campoverde in connection with the artistic work of Julio Mosquera. It allows us to conceive the completeness of the work and to understand Campoverde's contemporary compositional thought, his concerns and intersections with Mosquera's drawings.