Alberto Ginastera's Sonata for Guitar, Op. 47, is one of the most important works composed in the twentieth century for the instrument. This study examines elements of Argentine folk music, and discusses the ways in which Ginastera made use of these folk elements in the construction of the Sonata for Guitar.
Three overall categories of folk elements are present in the Sonata for Guitar. Characteristics of the criollo folk guitar tradition and of the guitar itself play important roles in the construction of the Sonata for Guitar. Elements of the andino cantos de caja, the baguala and the vidala, are used in the development of mimportant thematic material as well. Finally, the malambo and other criollo folk dances are utilized to generate the rhythms of the energetic closing movement of the Sonata for Guitar