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Alejo Carpentier and the Musical Text by Katia Chornik (review)

reproducers of Pascoal’s ideas. They were effective collaborators in the composition process. Chapter 4 presents a discussion on acoustics and psychoacoustics, particular foundational concepts, to help readers understand the music analysis that comes afterward. Here, the author presents a general differentiation between harmonic and inharmonic sounds, showing how the former were translated into complex chords that give singularity to the music the book focuses on. Chapter 5, the longest chapter, delivers analysis of selected recordings by Hermeto Pascoal and Group. In all of them, the harmonic sounds of pianos, guitars, flutes, saxophones, and other musical instruments are in dialogue with the inharmonic sounds of human voices and cicada, dog, and other animal sounds, which contributes to making Pascoal recordings so remarkable. Costa-Lima Neto leads us to comprehend some of the features that singularize the Pascoal compositional style, ranging from polyrhythmic patterns to polymodal harmonies, atonality, and the polychords that make musical instruments sound much like the noisy animals and voices that are also part of the musical textures of all the recording selected by the musicologist. In addition to exposing some of the main aspects of Pascoal’s compositional style, the book builds a convincing connection between his style and his perfect ear. In the end, readers are driven to conclude that his compositions and recordings are ways in which Pascoal expresses the soundscapes of everyday life in music.