Style of Performing American Preludes by Alberto Ginastera (Op. 12) and How Piano Learners Can Make Use of It

The twentieth century witnessed a strong trend among Latin American composers to free themselves from the control of European musical thought. Three factors combined to flourish nationalism from Latin America, the first of which is the fertility of its folk music, the second is the presence of generations of talented authors, and the third is the establishment of musical performance devices such as orchestras, ballet troupes and operas in the framework of governments that sponsored it and was keen to encourage national music and disseminate it locally and internationally.
Argentina experienced the same awakening that took place throughout Latin America and its music was first reflected by Alberto Williams (1862-1952), and then Argentina gave birth to one of the most brilliant musical personalities in Latin America, Alberto Ginastera (1916-1983).
Ginastera's early stage compositions were characterized by a strong tendency toward nationalism—Ginastera wrote a collection of 12 American Preludes, categorized 12, that relied on tonal pairings and rhythmic interviews.
The research is divided into two sections:
The first section: The theoretical aspect and includes the life of Alberto Ginastera - his works for the piano - the characteristics of his style - the prelude
The second section: the practical aspect, and it includes an analytical study of playing the piano Preludes No. (1&3&7) of Ginastera’s Op. 12 in order to determine the technical difficulties that it contains, with the development of playing instructions to overcome them.