LUIS DE PABLO- A SUBJECTIVE APPROACH TO SOUND CONCEPTS WITH STRUCTURAL DETERMINATIONS

Abstract

The study of Luis de Pablo's work highlights the subjectivist orientation of the Spanish composer, close to impressionism, expressionism or surrealism, where the sound phenomenon is perceived as sensory art. In his treatise "Aproximación a una estética de la música contemporánea", he defines the aesthetic and technical framework of composition: the use of numerical series as an organizational basis, correlated with auditory perception and with plastic suggestions. His aesthetics is based on the opposition between macrostructures (global form) and microstructures (sound cells), both subject to the principles of contradiction, hazard and mobility. Works such as "Polar", "Prosodia" or "Initiatives" demonstrate the concern for timbre, density and dynamic variation, but also for open forms, in which the performer actively participates in shaping the discourse. Contradiction becomes a stylistic core: oppositions between sonorous/sonorous, tension/relaxation, rule/break. The peak of his research is found in the cycles "Radial" and "Moduli", where he introduces the idea of modular constructivism, with infinite combinatorial possibilities. Thus, Luis de Pablo emerges as a leading conceptualist and structuralist, redefining contemporary music through the fusion of numerical rigor and perceptual freedom, between control and improvisation.