Ríos y raíces: Teoría y práctica del arte. In Diálogo de resplandores: Carlos Chávez y Silvestre Revueltas, edited by Ricardo Miranda Pérez and Yael Bitrán, 109–117. "Algunos aspectos de las melodías de Revueltas", translated by Ricardo Miranda Pérez. In Search of Silvestre Revueltas: Essays 1978–1990. F.: Fondo de Cultura Económica, Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México. "The Cooked and the Raw: Syncretism in the Music of Silvestre Revueltas". "Silvestre Revueltas and Musical Nationalism in Mexico". Latin American Music Review / Revista de Música Latinoamericana 18, no. "Silvestre Revueltas in Republican Spain: Music as Political Utterance".
"Nationalism and Musical Architecture in the Symphonic Music of Silvestre Revueltas". "Silvestre Revueltas: A Discussion of the Background and Influences Affecting His Compositional Style". The final movement superimposes several ostinatos, a device Revueltas uses extensively throughout his oeuvre. In imitation of the characteristic hammer-and-anvil accompaniment, Revueltas wrote a major-second ostinato for xylophone and pizzicato double bass, over which the trumpet plays a mournful melody in C ♯ minor. The second movement, Duelo, is written in a style close to the Andalusian martinetes sung by miners and prisoners awaiting sentence.
Over this texture, wind instruments present the thematic material, "at once sad and gay, in a light contrapuntal passage of the greatest transparency". An almost constant rhythmic substructure in 4/16 time is produced by the staccato of the piano, repeated plaintive fourths in the violins, and an obstinately repeated G in semiquavers in the contrabasses. The main, Allegro, section of the first movement is typical of Revueltas's orchestration.
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