Content and Form in the Incantation of Ecuatorial by Edgard Varèse With New Proposals for Future Performance O. Ian Ávalos Associate Music Instructor, Santa Ana College This presentation will include an analysis of the incantation section in Ecuatorial using the analytical techniques and terminologies of Chou Wen-Chung, Jonathan W. Bernard, Milton Babbit, and Mitchell Freya. Their methods are based on Varèse’s thinking on his own music. This presentation will also briefly suggest an expanded analytical view of this work, one that examines its social, cultural, and historical significance. A thorough analysis and discussion of this work requires a view that places it in context with other Varèsian works, mainly Ameriques and Offrendes. A more effective analysis of this work is one that examines it in a broad context in comparison to one that solely examines its compositional process. Finally, I will propose the reuse of Varèse’s original idea of using amplified voice with alterations, and the use of Mayan or Pre-Hispanic percussion in potential future performances, to create a stronger sense of what this work is about. Ecuatorial by Edgard Varèse was composed from 1933 to 1934. Its composition was influenced by text from the Mayan book of genesis, the Popol Vuh. Varèse came in contact with a Guatemalan author in Paris, Miguel Ángel Asturias in 1930 who gave him a copy of his book Leyendas de Guatemala, which was a poetic adaptation of the Popol Vuh. Varèse then used this text along with some that he added himself. The work was debuted in New York’s Town Hall in 1934 under the direction of Nicolas Slonimsky. Varèse made attempts in this work to expand orchestration by calling for an amplified voice with alteration and ondes martenots. Varèse collaborated with Léon