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

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dc.contributor.advisorMay, Jamesen_ZA
dc.contributor.authorKronenberg, Cliveen_ZA
dc.date.accessioned2014-10-01T07:58:16Z
dc.date.available2014-10-01T07:58:16Z
dc.date.issued2000en_ZA
dc.description.abstractThe 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.en_ZA
dc.identifier.apacitationKronenberg, C. (2000). <i>Cuban Artist, Leo Brouwer, and his solo guitar works: Pieza Sin Titulo To Elogio de la Danza. A contextual-analytical study</i>. (Thesis). University of Cape Town ,Faculty of Humanities ,College of Music. Retrieved from http://hdl.handle.net/11427/7843en_ZA
dc.identifier.chicagocitationKronenberg, Clive. <i>"Cuban Artist, Leo Brouwer, and his solo guitar works: Pieza Sin Titulo To Elogio de la Danza. A contextual-analytical study."</i> Thesis., University of Cape Town ,Faculty of Humanities ,College of Music, 2000. http://hdl.handle.net/11427/7843en_ZA
dc.identifier.citationKronenberg, C. 2000. Cuban Artist, Leo Brouwer, and his solo guitar works: Pieza Sin Titulo To Elogio de la Danza. A contextual-analytical study. University of Cape Town.en_ZA
dc.identifier.ris TY - Thesis / Dissertation AU - Kronenberg, Clive AB - 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. DA - 2000 DB - OpenUCT DP - University of Cape Town LK - https://open.uct.ac.za PB - University of Cape Town PY - 2000 T1 - Cuban Artist, Leo Brouwer, and his solo guitar works: Pieza Sin Titulo To Elogio de la Danza. A contextual-analytical study TI - Cuban Artist, Leo Brouwer, and his solo guitar works: Pieza Sin Titulo To Elogio de la Danza. A contextual-analytical study UR - http://hdl.handle.net/11427/7843 ER - en_ZA
dc.identifier.urihttp://hdl.handle.net/11427/7843
dc.identifier.vancouvercitationKronenberg C. Cuban Artist, Leo Brouwer, and his solo guitar works: Pieza Sin Titulo To Elogio de la Danza. A contextual-analytical study. [Thesis]. University of Cape Town ,Faculty of Humanities ,College of Music, 2000 [cited yyyy month dd]. Available from: http://hdl.handle.net/11427/7843en_ZA
dc.language.isoengen_ZA
dc.publisher.departmentCollege of Musicen_ZA
dc.publisher.facultyFaculty of Humanitiesen_ZA
dc.publisher.institutionUniversity of Cape Town
dc.subject.otherMusicen_ZA
dc.titleCuban Artist, Leo Brouwer, and his solo guitar works: Pieza Sin Titulo To Elogio de la Danza. A contextual-analytical study.en_ZA
dc.typeMaster Thesis
dc.type.qualificationlevelMasters
dc.type.qualificationnameMMusen_ZA
uct.type.filetypeText
uct.type.filetypeImage
uct.type.publicationResearchen_ZA
uct.type.resourceThesisen_ZA
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