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Cuban Artist, Leo Brouwer, and his solo guitar works: Pieza Sin Titulo To Elogio de la Danza. A contextual-analytical study.

The thesis investigates wide-ranging issues central to the Cuban artist, Leo Brouwer (b. 1939). Although considered by some scholars as perhaps the most significant living composer for the guitar in the twentieth century, Brouwer has not achieved the wide acclaim he deserves. This stems mainly from...

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Main Author: Kronenberg, Clive
Other Authors: May, James
Format: Thesis
Language:English
Published: College of Music 2014
Subjects:
Music
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access_status_str Open Access
author Kronenberg, Clive
author2 May, James
author_browse Kronenberg, Clive
May, James
author_facet May, James
Kronenberg, Clive
author_sort Kronenberg, Clive
collection Thesis
description The thesis investigates wide-ranging issues central to the Cuban artist, Leo Brouwer (b. 1939). Although considered by some scholars as perhaps the most significant living composer for the guitar in the twentieth century, Brouwer has not achieved the wide acclaim he deserves. This stems mainly from the North American Embargo imposed upon the Cuban nation for some forty years. Part I of the thesis explores issues concerning the artist's homeland and life. Part II examines a selection of solo guitar works from the composer's national stylistic period, 1956 â 1964. Analyses are presented of the composer's early works from 1956-57, Tres Apuntes (1959), Etudes Simples (1960-61) and Elogio de la Danza (1964). The analyses aim towards illustrating the artist's close association with his national culture, combined with his purpose of structuring universal art forms. Attention is drawn to the artist's employment of (1) Afro-Cuban national and traditionally tonal elements fused with more advanced compositional techniques (2) Idiomatic and pragmatic guitar techniques designed for the inexperienced player. Integrated into the thesis are discussions on some historically significant composers, performers and tutors who shaped Brouwer's artistry. Appendix A contains all the music scores which have been discussed in detail, Appendix B is a transcription of personal interviews by the author with Leo Brouwer conducted at the 1998 Nurtingen Guitar Festival in Germany and Appendix C presents official Cuban perspectives on the Cuban Revolution and the imposed North American Embargo.
format Thesis
id oai:open.uct.ac.za:11427/7843
institution University of Cape Town (South Africa)
language eng
last_indexed 2026-06-10T12:42:51.030Z
license_str Not specified — see source repository
provenance_str_mv Harvested via OAI-PMH from UCTD — University of Cape Town Open Access Repository
publishDate 2014
publishDateRange 2014
publishDateSort 2014
publisher College of Music
publisherStr College of Music
record_format dspace
source_str UCTD — University of Cape Town Open Access Repository
spelling oai:open.uct.ac.za:11427/7843 Cuban Artist, Leo Brouwer, and his solo guitar works: Pieza Sin Titulo To Elogio de la Danza. A contextual-analytical study. Kronenberg, Clive May, James Music The thesis investigates wide-ranging issues central to the Cuban artist, Leo Brouwer (b. 1939). Although considered by some scholars as perhaps the most significant living composer for the guitar in the twentieth century, Brouwer has not achieved the wide acclaim he deserves. This stems mainly from the North American Embargo imposed upon the Cuban nation for some forty years. Part I of the thesis explores issues concerning the artist's homeland and life. Part II examines a selection of solo guitar works from the composer's national stylistic period, 1956 â 1964. Analyses are presented of the composer's early works from 1956-57, Tres Apuntes (1959), Etudes Simples (1960-61) and Elogio de la Danza (1964). The analyses aim towards illustrating the artist's close association with his national culture, combined with his purpose of structuring universal art forms. Attention is drawn to the artist's employment of (1) Afro-Cuban national and traditionally tonal elements fused with more advanced compositional techniques (2) Idiomatic and pragmatic guitar techniques designed for the inexperienced player. Integrated into the thesis are discussions on some historically significant composers, performers and tutors who shaped Brouwer's artistry. Appendix A contains all the music scores which have been discussed in detail, Appendix B is a transcription of personal interviews by the author with Leo Brouwer conducted at the 1998 Nurtingen Guitar Festival in Germany and Appendix C presents official Cuban perspectives on the Cuban Revolution and the imposed North American Embargo. 2014-10-01T07:58:16Z 2014-10-01T07:58:16Z 2000 Master Thesis Masters MMus http://hdl.handle.net/11427/7843 eng application/pdf College of Music Faculty of Humanities University of Cape Town
spellingShingle Music
Kronenberg, Clive
Cuban Artist, Leo Brouwer, and his solo guitar works: Pieza Sin Titulo To Elogio de la Danza. A contextual-analytical study.
thesis_degree_str Master's
title Cuban Artist, Leo Brouwer, and his solo guitar works: Pieza Sin Titulo To Elogio de la Danza. A contextual-analytical study.
title_full Cuban Artist, Leo Brouwer, and his solo guitar works: Pieza Sin Titulo To Elogio de la Danza. A contextual-analytical study.
title_fullStr Cuban Artist, Leo Brouwer, and his solo guitar works: Pieza Sin Titulo To Elogio de la Danza. A contextual-analytical study.
title_full_unstemmed Cuban Artist, Leo Brouwer, and his solo guitar works: Pieza Sin Titulo To Elogio de la Danza. A contextual-analytical study.
title_short Cuban Artist, Leo Brouwer, and his solo guitar works: Pieza Sin Titulo To Elogio de la Danza. A contextual-analytical study.
title_sort cuban artist leo brouwer and his solo guitar works pieza sin titulo to elogio de la danza a contextual analytical study
topic Music
url http://hdl.handle.net/11427/7843
work_keys_str_mv AT kronenbergclive cubanartistleobrouwerandhissologuitarworkspiezasintitulotoelogiodeladanzaacontextualanalyticalstudy

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