(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).
(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).