Percussion and sonority in Tuntún de pasa y grifería.

Abstract

In the following, we propose a lectura on Tuntún de pasa y grifería, with emphasis in the poems “Danza negra” y “Ñam Ñam”. We intend to recognize the way in witch the Puerto Rican autor Luís Pales Matos use different phonological resources –accentual patterns, syllabe opening and clossing, use of oclusive consonants- to endure the construction of the “negrista” atmosphere in the book. In this line, we will notice the way that the polymetry and the polyrhythm collapse with the strophic molds of the spanish litterary tradition, in the poscollonial cultural hegemony, and the structures of the afrodescendant music, like the candombe.