Thesis (M.Mus.) - University of Queensland, 1999. / Includes bibliography.

Syftet med föreliggande konstnärliga examensarbete var att analysera och interpretera den kubanska kompositören Leo Brouwers neoromantiska Sonata (1990) för klassisk gitarr. Det utfördes metodiskt genom en musikanalys av storform, sonatform, harmonik, musikaliska citat, dansanta begrepp och sammanställning av en motivkatalog. Studiens resultat indikerar att Brouwer tillämpade sonatform samt inkorporerade citat från Beethoven, Scriabin, Padre Soler och Bernardo Pasquini. Sonaten är komponerad idiomatiskt för gitarr men involverar ändå vissa speltekniska utmaningar för gitarristen. Det har bearbetats genom egna fingersättningar för att på bästa sätt gestalta fraseringar med tillämpning av bland annat karaktär av legato och speltekniska aspekter som campanella. Studien har resulterat i en utvecklad förmåga att tillämpa en äldre musikform för att bära ett modernare tonspråk genom instudering och analys av Leo Brouwers Sonata.

This study examines phrase and larger formal structures in the first movement of Leo Brouwer’s Elegio de la Danza (1964), a work that draws on tonal and post-tonal traditions. By adapting key features of the tonal motive, as described by Douglass Green, and the tonal period, as proposed by Green and William Caplin, the model seeks to provide a tool for the discussion of phrases and larger forms in Brouwer’s work. An analysis of primary parameters, such as melody, harmony, and rhythm, provides the means to discuss how the composer articulates beginnings and endings of statements and responses, which are then grouped into antecedent and consequent phrases. These periods articulate large-scale sections, which outline a ternary formal design. Secondary parameters (dynamics, tempo markings, instrumental markings) further contribute to the identification of formal structures in Brouwer’s work.

Latin-American guitarist-composers Ernesto Cordero, Leo Brouwer, and Sergio Assad are three of the most influential figures in the contemporary world of classical guitar. In addition to their important compositions for solo guitar, their compositions for guitar ensemble represent significant contributions to the concert repertory. These three guitarist-composers share a knowledge of popular, folkloric and classical music and demonstrate a commitment to bridging these realms in their compositions in the classical tradition. This study reviews the history of the guitar quartet. It then examines the different cultural influences in selected compositions for classical guitar quartet by each composer, exploring the significance of these choices for the performer and for the medium. The document also offers a performer’s guide for accurate and stylistic performance. When performed well, these quartets represent the vitality of contemporary Latin American composition and confirm the stature of the guitar quartet as a compelling medium for the concert artist.

This study examines phrase and larger formal structures in the first movement of Leo Brouwer’s Elegio de la Danza (1964), a work that draws on tonal and post-tonal traditions. By adapting key features of the tonal motive, as described by Douglass Green, and the tonal period, as proposed by Green and William Caplin, the model seeks to provide a tool for the discussion of phrases and larger forms in Brouwer’s work. An analysis of primary parameters, such as melody, harmony, and rhythm, provides the means to discuss how the composer articulates beginnings and endings of statements and responses, which are then grouped into antecedent and consequent phrases. These periods articulate large-scale sections, which outline a ternary formal design. Secondary parameters (dynamics, tempo markings, instrumental markings) further contribute to the identification of formal structures in Brouwer’s work.

Die Kubaanse komponis Leo Brouwer (1939- ) het ʼn unieke idiomatiek vir die kitaar ontwikkel wat met die eerste oogopslag ingewikkeld lyk (en klink), maar steeds logies is en gemaklik onder die vingers lê. In hierdie mini-verhandeling word Brouwer in konteks geplaas met ontwikkelings in Kuba. Biografiese agtergrond van sy lewe word verskaf, en sy werke word in drie komposisiefases verdeel. Elke komposisiefase word afsonderlik bespreek met fokus op die volgende solo kitaarwerke: <ul> <li>Danza Caracteristica (1972)</li> <li>Elogio de la Danza (1964)</li> <li>10 Etudes Simples (1973)</li> <li>Canticuum (1968)</li> <li>La Espiral Eterna (1971)</li> <li>El Decameron Negro (1982)</li> <li>Paisaje Cubano con Campañas (1987)</li> <li>Sonata (1990)</li></ul> Hierdie werke word bespreek meestal in terme van komposisietegnieke en notasie. Aspekte wat Brouwer se idiomatiek verduidelik word uitgelig en die toeganklikheid van die werke word krities geëvalueer. Brouwer se groei en ontwikkeling as komponis word uitgewys, en sy invloed op hedendaagse komponiste en kitaarspelers word bespreek. Daar word bevind dat die idiomatiek in Brouwer se geselekteerde solo kitaarwerke ʼn dominante rol speel in sy benadering tot kitaarkomposisie. Die studie is veral vir kitaarkomponiste van waarde om sinvolle komposisie-besluite te kan maak. ENGLISH : The Cuban composer Leo Brouwer (1939- ) developed an idiomatic writing style for the classical guitar which is an important factor when the difficult technical requirements of the guitar are taken into consideration. This idiomatic writing style might seem (and sound) complex at first glance, but is in fact logical and easily accessible on the instrument. In this mini-dissertation Brouwer is placed in context with political and artistic development in Cuba. Biographical background of his life is given, and his works are divided into three compositional periods. Each period is discussed separately with the focus on the following solo guitar works: <ul> <li>Danza Caracteristica (1972)</li> <li>Elogio de la Danza (1964)</li> <li>10 Etudes Simples (1973)</li> <li>Canticuum (1968)</li> <li>La Espiral Eterna (1971)</li> <li>El Decameron Negro (1982)</li> <li>Paisaje Cubano con Campañas (1987)</li> <li>Sonata (1990)</li> </ul> These solo guitar works is discussed mostly in terms of compositional techniques and notation. Aspects that describe Brouwer’s idiomatic writing style are emphasised, and the accessibility of the works is critically evaluated. Brouwer’s development as a composer is highlighted, and his influence on guitar composers and guitarists is discussed. As a conclusion it is shown that the idiomatic writing style of Brouwer plays a leading role in his approach to solo guitar composition. The study is of value to guitar composers when sensible compositional decisions have to be made. / Dissertation (MMus)--University of Pretoria, 2012. / Music / unrestricted

This thesis presents extended program notes for a recorded graduate classical guitar recital consisting of the following works for solo guitar with string quartet and chamber orchestra: Mario Castelnuovo-Tedesco: Quintet for Guitar and Strings, Op. 143; Leo Brouwer: Concerto No. 3 (“Elegiaco”). Both works are pioneering and invaluable contributions to guitar literature. Tedesco’s Quintet for Guitar and Strings, Op. 143 is the first quintet ever composed to properly showcase the virtuosity of the guitar within a chamber setting. Concerto “Elegiaco” demonstrates the refinement of Leo Brouwer’s use of post-modern tonality and minimalism within classical form, and showcases his unique compositional style.

This study examines phrase and larger formal structures in the first movement of Leo Brouwer’s Elegio de la Danza (1964), a work that draws on tonal and post-tonal traditions. By adapting key features of the tonal motive, as described by Douglass Green, and the tonal period, as proposed by Green and William Caplin, the model seeks to provide a tool for the discussion of phrases and larger forms in Brouwer’s work. An analysis of primary parameters, such as melody, harmony, and rhythm, provides the means to discuss how the composer articulates beginnings and endings of statements and responses, which are then grouped into antecedent and consequent phrases. These periods articulate large-scale sections, which outline a ternary formal design. Secondary parameters (dynamics, tempo markings, instrumental markings) further contribute to the identification of formal structures in Brouwer’s work.

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.