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Journals / Akademik Araştırmalar Dergisi / 2010 / Cilt: 0 - Sayı: 46

Leo Brouwe's compositional language and periods

Leo Brouwer'in bestecilik dili ve dönemleri

ÖZKİŞİ. Gülçin Zeynep
Alkan AKINCI
Pages
223–244
Publication Date
2022-10-11
DOI
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AI Summary & Key Takeaways

AI Insight
⚡ TL;DR(Too Long; Didn't Read)

Thus, Brouwer’s music provides a wide source of compositional material to the researcher, particularly, in terms of its stylistic aspects.

📌 3 Key Takeaways

🎯
Objective & Hypothesis:Cuban guitarist and composer Leo Brouwer is one of the most distinctive composers of contemporary Cuba.
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Key Findings & Data:Composer of some of the most outstanding guitar works of 20th century, Leo Brouwer is also distinguished as an active trainer and a conductor.
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Conclusion & Impact:Thus, Brouwer’s music provides a wide source of compositional material to the researcher, particularly, in terms of its stylistic aspects.
🔬Design:Research Article
📍Scope:Comprehensive Sample
⚙️Variables:Domain Parameters

Abstract

Cuban guitarist and composer Leo Brouwer is one of the most distinctive composers of contemporary Cuba. Composer of some of the most outstanding guitar works of 20th century, Leo Brouwer is also distinguished as an active trainer and a conductor. He has also written a series of essays where he stated his ideas as a composer and musician of post-revolution Cuba. The guitar music of Brouwer is distinguished with its rich diversity of style which embodies conventional Cuban folk and avant-garde forms. Art movements and theoretical approaches of 20th century has an apparent influence on Brouwer’s work. The functional distinctions between po- pular and artistic/academic music is obscured by the second half of 20th century, a situation the traces of which we may pursue through Brouwer’s music and similarly, throughout the post-modern process. Brouwer, as a composer, has been a careful observer and pursuer of contemporary approaches in composition and has composed his works within such a framework that embraces the variety and diversity of those different approaches. Thus, Brouwer’s music provides a wide source of compositional material to the researcher, particularly, in terms of its stylistic aspects.

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Cite This Article

Zeynep, Ö. G., AKINCI, A. (2022). Leo Brouwe's compositional language and periods. Akademik Araştırmalar Dergisi, Cilt: 0 - Sayı: 46, 223–244. https://ajindex.com/articles/432029

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References (3)

  1. 1 Paul R. Century, Idiom and Intellect: Stylistic Synthesis in The Solo Guitar Music of Leo Brouwer, M.A., University Of California, Santa Barbara, 1985, s. 31 2 Bu denemelerin büyük kısmı Musica, Lo Cubano y Innovacion’daki Radames Giro tarafından bir araya getirilmiş ve düzenlenmiştir (Havana: Editorial Letras Cubanas, 1982), bk. Century, Idiom and Intellect, s. 32 3 Century, Idiom and Intellect, s. 32 4 Century, Idiom and Intellect, s.32 5 Century, Idiom and Intellect, s. 42 6 Leo Brouwer, La Música, Lo Cubano y La Innovación’dan “La Música, Lo Cubano y La Innovación”’den aktaran Century, 44. 7 Century, Idiom and Intellect, s. 33 8 Century, Idiom and Intellect, s. 55 9 Century, Idiom and Intellect, s. 57 10 Century, Idiom and Intellect, s. 62 11 Brouwer, solo çalgı, oda müziği, orkestra müziği ve film müziği gibi pek çok türde yapıtlar bestelemiştir
  2. bknz. http://www.pytheasmusic.org/brouwer.html 12 Paul Century, “Leo Brouwer: A Portrait of the Artist in Socialist Cuba”, Latin American Music Review, vol. 8, sy. 2, 1987, s. 158 13 Elogio de la Danza (solo gitar için), 1964. 14 “La Vanguardia de la Musica Cubana”, Música n.1 (1970) ve La Música, Lo Cubano y Innovación (1982)’da yayımlandı
  3. aktaran Century, Idiom and Intellect, s. 9. 15 Tres Danzas Consertantes (gitar ve yaylı çalgılar için beşli), 1959. 16 Century, Idiom and Intellect, s. 71 17 Century, Idiom and Intellect, s. 10-11. 18 Hans Werner Henze, El Cimarrón (dört müzisyen için resital), 1970. 19 Exaedros II (herhangi 6 çalgı için), 1969. 20 Hans Werner Henze, Altıncı Senfoni (iki oda orkestrası için), 1969. 21 Century, “Leo Brouwer: A Portrait of the Artist in Socialist Cuba”, s. 164-165. 22 Gitar Konçertosu No. 1 (gitar ve orkestra için), 1971-1972. 23 Century, Idiom and Intellect, s. 74 24 Century, Idiom and Intellect, s. 77 25 Paul Century, Principles of pitch organization in Leo Brouwer's atonal music for guitar, Ph.D., University of California, Santa Barbara, 1991, s. 2. 26 Fernando Ortiz, Entre Cubanos (Havana, 1987), p. 89.’dan aktaran Century, Principles of pitch organization in Leo Brouwer's atonal music for guitar, s. 2. 27 Century, Principles of pitch organization in Leo Brouwer's atonal music for guitar, s. 2-3. 28 Century, Principles of pitch organization in Leo Brouwer's atonal music for guitar, s. 3. 29 Century, Principles of pitch organization in Leo Brouwer's atonal music for guitar, s. 4. 30 José Ardévol, “Entrevista”, Musica y Revolucion, Havana 1976, s. 72.’den akta- ran Cent