(Buenos Aires: Ediciones Culturales Argentinas, 1967) 21). Of these five songs, "Arrorró" is the only instance where Ginastera has left the text, rhythm, and melody of the source unaltered, just as Brahms and Bartók had done in many of their settings and Copland would do in several of his Old American Songs, including the lullaby "The Little Horses." Ginastera sets this well-known Argentine lullaby in G major over a slow duple meter ostinato which, though centric to G as well, emphasizes dissonant auxiliary tones (Wallace, 86).
Ginastera's setting of the Argentine lullaby "Arrorró" is compared to the approaches of Brahms and Bartók, who also preserved the original text, rhythm, and melody of their sources in their settings. This approach is further connected to Copland's use of similar techniques in his Old American Songs, particularly his lullaby "The Little Horses."