in this work that could be called a "theme", and the work "is not about thematic groups and their symphonic development". Instead, its material consists of motifs, phrases, and thematic fragments, mostly consisting of between three and five diatonic or chromatic notes and note repetitions. Both of these positions have been challenged. While it is conceded to be Villa-Lobos's most dissonant work, analysis shows this is a case of polytonality, rather than atonality, and while the use of short repeated motifs with variations and rhythmic transformations are the essence of primitivist rhythmic animation, these procedures are also the very definition of symphonic thematic development. The composer characterised the work as the "Dance Chôros", and construed the fragmented and contrapuntally intertwined opening themes as "sensually complex and atonal in order to deliberately give the feeling of nervousness of a crowd that is gathering to dance". The work appears to be conceived as an exploration of the possibilities of concatenation of sound blocks assembled from ostinato figurations. In fact, there are something like thirty-six different ostinatos, which are used to coordinate a complex stream of sounds. References Footnotes Further reading External links villalobos.iu.edu Villa-Lobos site at Indiana University: Maintained by the Latin American Music Center Compositions by Heitor Villa-Lobos Compositions that use extended techniques 1925 compositions 1945 compositions Music dedicated to ensembles or performers