Formas de recuerdo sin territorio

This paper provides an approach to musical composition from a notion of the creative powers of memory and oblivion within the frame of academic contemporary music. One of the most meaningful principles guiding the analysis is supported on Colombian rural music’s oral tradition. Starting from such an invocation, the study shows how the compositional development processes can be guided by the principle of distortion as a correlate of oblivion’s natural presence, or as the subjective nature of perception in the remembering exercise. The findings shown herein stem from the study of two pieces composed by the author, which configure a type of compositional technique of great use for artistic and musical creation.