Abstract
AbstractThis article explores Julio Estrada's musical thinking in his early and recent works. Estrada's early works precede the development of his graphication method in the 1980s, and his recent works follow the completion of his opera Murmullos del Páramo in 2006. It is his music of these three decades between 1980 and 2006 that is most widely scrutinised – a music centred on the extensive conception and manifestation of sound as a continuum and aided in the creational process by coloured drawings on graph paper – but this article focuses on lesser-known pieces from the 1970s like Melódica and Solo para uno, as well as recent works such as his opera-in-progress, a major project conceived as a book to be read and imagined, rather than performed. It is hoped that close examination of these pieces will significantly broaden the understanding of Estrada's creative drive and lifelong research, revealing how these works entangle with his better-known developments of the sound continuum and graphication method and share common concerns with work from across his career.
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