In the first section of this thesis rhythmic theories of Leonard Meyer and Grosvenor Cooper, Wallace Berry, William Benjamin, Joel Lester, Fred Lerdahl and Ray Jackendoff, and Jonathan Kramer are discussed. Each theortician's treatment of meter and grouping is compared. The appropriateness of each theory as an analytic tool for the analysis of El Decameron Negro by Leo Brouwer is evaluated. / The analysis itself concerns a section of music in which written meter changes at almost every barline. Within the measures binary and ternary rhythmic groups occur in the context of a continuous pulse. The analysis explicates the metric organization of the section. Suggestions are given for a performance which will project the underlying organization of the section of music.

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Made available in DSpace on 2014-06-11T19:27:09Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-02-18Bitstream added on 2014-06-13T20:16:07Z : No. of bitstreams: 1 000753998.pdf: 885291 bytes, checksum: e06a634b31c2012fc0b6d5e72ec13aa3 (MD5) / Este trabalho é espelhado no livro “Teoria do Índice” [1] de Daciberg Lima Gonçalves e José Carlos de Souza Kiihl, publicado em 1983 no 14o Colóquio Brasileiro de Matemática pelo IMPA. Para a leitura deste trabalho é necessário uma familiaridade prévia com Topologia Algébrica, na qual indicamos [2] e [3] para consulta. Inicialmente apresentaremos alguns pré-requisitos algébricos e topológicos necessários para o desenvolvimento do trabalho e a seguir estudaremos: pontos fixos de aplicações contínuas de X em X, em que X é um espaço topológico; Grau de Brouwer de aplicações contínuas de Sn em Sn (ou respectivamente (Bn+1; Sn) em (Bn+1; Sn)); Grau Local de uma aplicação contínua f de V em Sn em torno de um ponto Q 2 Sn, em que V Sn é um aberto e f1(Q) é um compacto e Índices dos Pontos Fixos de uma aplicação contínua de V em Sn, em que V Rn é um aberto / This work is based on the book titled “Teoria do Índice” [1] by Daciberg Lima Gonçalves and José Carlos de Souza Kiihl , published in 1983 in the 14o Brazilian Math Colloquium held by IMPA . In order to perform the reading of this work, a basic acquaintance from the algebraic topology is needed, on which we can indicate the following [2] and [3] references. Firstly, for the development of the work, some previous necessary algebraic and topological requirements are shown and the next topics will be studied: fixed points of continuous maps from X to X, where X is a topological space, Brouwer’s degree of continuous maps from Sn to Sn ( or respectively (Bn+1; Sn) to (Bn+1; Sn)), Local Degree of continuous maps from V to Sn around a point Q 2 Sn, where V Sn is an open set and f1(Q) is a compact set and Fixed Points Index of continuous maps from V to Sn, where V Rn is an open set

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Made available in DSpace on 2014-06-11T19:28:20Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-06-24Bitstream added on 2014-06-13T20:57:54Z : No. of bitstreams: 1 franco_lj_me_ia.pdf: 1858255 bytes, checksum: 7073124a61dd78b45b49278de09a7755 (MD5) / O presente trabalho disserta sobre hibridismos em música, sobretudo na obra violonística do cubano Leo Brouwer. Foi feita uma discussão de caráter geral sobre os diversos usos de hibridismos presentes em algumas músicas de compositores latinoamericanos. Para tanto foram abordados alguns autores dos chamados estudos culturais, por tratarem especificamente desse tema, ainda que usem outros termos ou palavras. Com isso pretende-se dar aos intérpretes de violão subsídios baseados na diversidade cultural, trazendo a interpretação como um campo de possibilidades. Por fim, a pesquisa apresentou elementos diversificados presentes na música de Brouwer, o que a caracteriza como uma prática híbrida / This dissertation is about hybridity in music, focusing on the work of the Cuban guitarist Leo Brouwer. The various ways hybridity is present in some songs of Latin American composers were discussed here. Therefore, some authors from what is called cultural studies were addressed, by specifically refer to this topic, albeit using other terms or words. This is intended to provide subsidies to guitar interpreters based on cultural diversity, bringing interpretation as a field of possibilities. Lastly, the research presented several elements found in Brouwer’s music that characterizes it as a hybrid practice

Leo Brouwer's Sonata Mitología de las Aguas No. I for flute and guitar, first published in 2017, has taken its place as an important twenty-first-century addition to the flute and guitar duo repertory. I provide a brief historical context for the work, followed by preparation guides for guitar alone and duo passages. My preparation guides include exercises and rehearsal strategies, focusing on those passages of the work that include controlled indeterminacy. The study of indeterminacy in music is unusual in the pedagogy of the classical guitarist; this leaves guitarists unprepared for dealing with pieces, especially chamber works, that use improvisation or aleatoric music as a primary element. I take a multifaceted approach to facilitate the realization of the indeterminate sections of the work; this includes demonstrations of my traditional music notation transcriptions and other rehearsal strategies and the application of music performance study systems by James Thurmond and Marcel Tabuteau. This document aims to provide guidance to creating an organic, natural aesthetic in the actualization of Brouwer's groundbreaking work.