Relevant bibliographies by topics / Brouwer, Leo

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Brouwer, Leo'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Brouwer, Leo"

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Kronenberg, Clive. "GUITAR COMPOSER LEO BROUWER: THE CONCEPT OF A ‘UNIVERSAL LANGUAGE’." Tempo 62, no. 245 (2008): 30–46. http://dx.doi.org/10.1017/s004029820800017x.

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In the realm of art music, Leo Brouwer (1939-) is widely considered as the most significant living composer for the guitar. Since the latter part of the 20th century, students of the guitar at most, if not all, recognized music institutions have increasingly sought to perform Brouwer's works. Correspondingly, at the South African College of Music (University of Cape Town) respected instructors like Elspeth Jack, Neefa van der Schyff, and others, have over many years consistently and devotedly incorporated Brouwer's guitar literature into their teaching programmes. Cape Town's prized composer-conductor Alan Stephenson has similarly developed a keen interest in Brouwer's large-scale works, inspiring in 1998 a memorable rendition of Brouwer's acclaimed Elegiaco Concerto, performed by the talented soloist Christiaan Van der Vyver and the University of Cape Town Orchestra. In line with this, one of Brouwer's underlying goals has been to create works that are accessible to players of varying standards of performance. As a consequence, young, inexperienced, moderate, advanced as well as top internationally-acclaimed virtuosic players have all found some measure of contentment in performing Brouwer's guitar works.
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Wistuba-Alvarez, Vladimir. "Lluvia, Rumba y Campanas en los Paisajes Cubanos de Leo Brouwer y Otros Temas (Una conversacion con Leo Brouwer)." Latin American Music Review / Revista de Música Latinoamericana 10, no. 1 (1989): 135. http://dx.doi.org/10.2307/780386.

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Llanos, Fernando Elías. "Leo Brouwer: 80 años sublimando el lenguaje guitarrístico." OPUS 25, no. 2 (2019): 261. http://dx.doi.org/10.20504/opus2019b2512.

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Prada, Teresinha. "Retrato musical de Julian Bream por Leo Brouwer." Revista Vórtex 8, no. 3 (2020): 1–7. http://dx.doi.org/10.33871/23179937.2020.8.3.1.51.

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Prada, Teresinha. "As homenagens em Nuevos Estudios Sencillos de Leo Brouwer." Ouvirouver 11, no. 1 (2015): 198–217. http://dx.doi.org/10.14393/ouv16-v11n1a2015-12.

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Crist, Timothy. "Leo Brouwer, Guitar Music, Vol. 3. Naxos Classical CD 8.554195." Journal of the Society for American Music 4, no. 2 (2010): 264–66. http://dx.doi.org/10.1017/s175219631000009x.

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Century, Paul. "Leo Brouwer: A Portrait of the Artist in Socialist Cuba." Latin American Music Review / Revista de Música Latinoamericana 8, no. 2 (1987): 151. http://dx.doi.org/10.2307/780096.

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Silva, Ricardo Marçal de Souza e. "Ekphrasis em música: os Quadrados Mágicos de Paul Klee na Sonata para violão solo de Leo Brouwer." Per Musi, no. 19 (2009): 47–62. http://dx.doi.org/10.1590/s1517-75992009000100006.

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Para Siglind Bruhn, o conceito de ekphrasis, usado nas artes plásticas e na literatura, pode ser aplicado também para certas obras musicais. Partindo dessa concepção, desenvolvida pela autora na obra Musical Ekphrasis: composeres responding to poetry and painting este artigo investiga a apropriação que o compositor cubano Leo Brouwer (1939 - ) faz, no primeiro movimento de sua Sonata para violão solo, de certos procedimentos composicionais utilizados pelo pintor suíço Paul Klee (1879-1940) em sua série de pinturas intitulada Quadrados Mágicos, caracterizando, assim, uma ekphrasis.
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Morais, Claryssa, and Fabio Scarduelli. "Aplicação pedagógica dos Nuevos Estudios Sencillos na obra La Ciudad de las Columnas, de Leo Brouwer." Opus 23, no. 1 (2017): 205–23. http://dx.doi.org/10.20504/opus2017a2309.

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Fernandes, Cleyton Vieira. "A variação timbrística na estrutura do discurso musical: considerações e aplicação em “Hika”, de Leo Brouwer." Estudos Semióticos 7, no. 2 (2011): 26. http://dx.doi.org/10.11606/issn.1980-4016.esse.2011.35247.

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Dissertations / Theses on the topic "Brouwer, Leo"

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Rees, Marcus. "Neo-romantic elements in Leo Brouwer's Le Decameron noir /." [St. Lucia, Qld.], 1999. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe20228.pdf.

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Silva, Felipe Augusto Vieira da. "El Decameron Negro de Leo Brouwer." reponame:Repositório Institucional da UFPR, 2011. http://hdl.handle.net/1884/25972.

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Franco, Luan José 1988. "Hibridismos musicais : Leo Brouwer e a Sonata del Caminante /." São Paulo, 2013. http://hdl.handle.net/11449/96474.

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Orientador: Gisela Gomes Pupo Nogueira<br>Coorientador: Alberto Tsuyoshi Ikeda<br>Banca: Herom Vargas<br>Banca: Ricardo Lobo Kubala<br>Resumo: 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<br>Abstract: 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<br>Mestre
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Franco, Luan José [UNESP]. "Hibridismos musicais: Leo Brouwer e a Sonata del Caminante." Universidade Estadual Paulista (UNESP), 2013. http://hdl.handle.net/11449/96474.

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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)<br>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<br>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
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Marques, Tiago Emanuel Cassola. "Projecto educativo Leo Brouwer - Contributos para a pedagogia guitarrística." Master's thesis, Universidade de Aveiro, 2012. http://hdl.handle.net/10773/9650.

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Mestradoem Ensino de Música<br>O presente trabalho propõe-se apresentar a figura de Leo Brouwer enquanto pedagogo no âmbito da pedagogia guitarrística, para além de abordar a sua relevância como guitarrista, maestro e compositor, em particular a sua escrita para guitarra. Será feita uma recensão analítica dos antecedentes históricos da guitarra, partindo de Giuliani até Leo Brouwer, e obtidas conclusões acerca da pesquisa e análise da sua obra didáctica, das suas reflexões teóricas e da sua prática de ensino em contexto de master-classes.<br>This work intends to present the pedagogical path of Leo Brouwer within the guitar pedagogy, as well as reporting his important role as a guitarist, a director, and a composer, especially the importance of his guitar works. An analytical literature review of the guitar idiomatic technique between Giuliani and Brouwer will be done, as well as some research and analysis of his guitar Simple Studies, on his theoretical thoughts and his master-class teaching methods.
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Lövhaga, Mattias. "Sonata: Leo Brouwer : Ett kvalitativt nedslag i 1900-talets gitarrmusik och dess uttryck." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3591.

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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.
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Du, Plessis Harm. "Lyotard's subline : its manifestation in the musical aesthetic of Toru Takemitsu and Leo Brouwer." Master's thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/20718.

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The research question stems from a desire to discover what makes the guitar music of Leo Brouwer and Toru Takemitsu so conducive to aesthetic investigation, from the viewpoint of both a listener and performer of their works. The research approach is that of viewing their music through a philosophical lens provided by the notions and attitudes of postmodernism, especially through the aesthetic writings of Jean François Lyotard. Instead of embarking on an analytical investigation in order to prove the aesthetic elements perceived in the music, existing analytical research is consulted and conclusions drawn from this material as it relates to the philosophical ideas of the dissertation .The research question answered is whether there is an aesthetic common ground between Brouwer and Takemitsu that can be linked to the presence of the traditional aesthetic principles of their respective native countries in their guitar compositions. The presence of such aesthetic qualities is indeed perceptible in their music and it is the investigative aim of the dissertation to highlight these qualities as they relate to postmodern notions of time and existence. The aesthetic theory of the sublime as relayed by Lyotard functions as the philosophical premise of the dissertation. The temporal quality that Lyotard observes in the sublime is of particular importance in the selection of this philosopher's work as a theoretical framework. It will be shown that the temporal aspect which Lyotard identifies as an integral part of the sublime aesthetic is what provides the common ground between the musical of the two composers' works. The dissertation proceeds in the first chapter to explain some of the important notions of postmodernism, as they relate to the current topic, concerning the temporal aspect of human experience, in the study of history and from a philosophical view point. This leads to the ideas about temporality as an important aspect of the aesthetic of the sublime as posited by Lyotard in the second part of the first chapter. In this part of the text, reference is made to the composers Brouwer and Takemitsu in order to situate their musical philosophies and aesthetics in the philosophical framework that is provided in this chapter. A bridge between the philosophical framework is provided by devoting the second chapter to an investigation into the ideas by Jonathan D. Kramer about the temporal aspect of music. This provides a link to Lyotard's observation of the temporal aspect of the sublime.
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Crago, Bartholomew. "Some rhythmic theories compared and applied in an analysis of El decameron negro by Leo Brouwer." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22456.

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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.<br>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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Puerta, José Luis, and José Luis Puerta. "A Performance Guide to Latin-American Guitar Quartets: The Quartets of Ernesto Cordero, Leo Brouwer, and Sérgio Assad." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/622968.

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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.
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Caboverde, Enrique III. "A Graduate Guitar Recital Consisting of Works by Leo Brouwer and Mario Castelnuovo-Tedesco with Extended Program Notes." FIU Digital Commons, 2012. http://digitalcommons.fiu.edu/etd/640.

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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.
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Books on the topic "Brouwer, Leo"

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Hdez, Isabelle. Leo Brouwer. Editora Musical de Cuba, 2000.

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Carvajal, Mara Lioba Juan. Leo Brouwer: Modernidad y vanguardia. Intercambio Cultural Latinoamericano Unicornio, 2006.

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Giro, Radamés, and Jesús Gómez Cairo. Leo Brouwer: Del rito al mito. Ediciones Museo de la Música, 2009.

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Giro, Radamés. Leo Brouwer y la guitarra en Cuba. Editorial Letras Cubanas, 1986.

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Tanenbaum, David. Leo Brouwer's 20 estudios sencillos. Guitar Solo Publications, 1992.

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Scardova, Jaclyne, David Tanenbaum, and Leo Brouwer. Leo Brouwer: The Essential Studies. Music Sales Corporation, 1997.

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Thomas, Susan. Experimental Alternatives. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190842741.003.0003.

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In 1969 the director of Cuba’s film institute, Alfredo Guevara, founded a musical collective whose official purpose was to provide film music for Cuba’s vibrant and experimental new socialist cinema. The resulting Grupo de Experimentación Sonora represented something of a “rescue mission” for artists who for reasons political, aesthetic, or of personality found themselves on the margins of increasingly conservative and restrictive state-run cultural institutions. Under the direction of composer Leo Brouwer, the Grupo incorporated musicians who became some of the Revolution’s most renowned artists. Brouwer declared that the primary mission of the Grupo was not to create film music but “to transform the repertoire of Cuban popular music to the best of our abilities.” The Grupo merged discourses of the artistic avant-garde with those of revolutionary praxis and in doing so, positioned their sonic experiments both aesthetically and politically. The Grupo has had a marked impact on later groups who also struggled on the margins of state institutions. Drawing overt references to the Grupo and appropriating similar avant-garde rhetoric, collectives such as Habana Abierta and Interactivo promoted a new musical and social “revolution from within,” one that advocated from the margins of official discourse for a radically new transnational model of Cuban citizenship and civic participation.
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Quevedo, Marysol. Experimental Music and the Avant-garde in Post-1959 Cuba. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190842741.003.0014.

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This chapter examines how experimental music in the 1960s in Cuba reached wider audiences as a product of the cultural policies of the Cuban Revolution and of the aesthetic goals of a particular set of individuals who took advantage of the new cultural institutions to promote experimental music under the banner of vanguardia. As music advisor of the Orquesta Sinfónica Nacional, Juan Blanco programed new music by international and Cuban composers. As music director of the Instituto Cubano de Artes e Industrias Cinematográficas, Leo Brouwer recruited composers who shared his interest in experimental music. The chapter’s case studies prove that experimental music in Cuba was not aimed at an elite group of initiated avant-gardists but reflected the new political and social climate, in which all types of music were meant to reach as wide a segment of the population as possible.
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Floyd, Juliet. Wittgenstein on Philosophy of Logic and Mathematics. Edited by Stewart Shapiro. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780195325928.003.0004.

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Ludwig Wittgenstein (1889–1951) wrote as much on the philosophy of mathematics and logic as he did on any other topic, leaving at his death thousands of pages of manuscripts, typescripts, notebooks, and correspondence containing remarks on (among others) Brouwer, Cantor, Dedekind, Frege, Hilbert, Poincaré, Skolem, Ramsey, Russell, Gödel, and Turing. He published in his lifetime only a short review (1913) and the Tractatus Logico-Philosophicus (1921), a work whose impact on subsequent analytic philosophy's preoccupation with characterizing the nature of logic was formative. Wittgenstein's reactions to the empiricistic reception of his early work in the Vienna Circle and in work of Russell and Ramsey led to further efforts to clarify and adapt his perspective, stimulated in significant part by developments in the foundations of mathematics of the 1920s and 1930s; these never issued in a second work, though he drafted and redrafted writings more or less continuously for the rest of his life.
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Book chapters on the topic "Brouwer, Leo"

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Baer, Tomas, and William L. Hase. "Introduction." In Unimolecular Reaction Dynamics. Oxford University Press, 1996. http://dx.doi.org/10.1093/oso/9780195074949.003.0003.

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The field of unimolecular reactions has witnessed impressive advances in both experimental and theoretical techniques during the past 20 years. These developments have resulted in experimental measurements that finally permit critical tests of the major assumptions made more than 60 years ago when Rice and Ramsperger (1927, 1928) and Kassel (1928) first proposed their statistical RRK theory of unimolecular decay. At the heart of these advances is our ability to prepare molecules in narrow ranges of internal energy, even in single quantum states, at energies below and above the dissociation limit. This has led to detailed spectroscopic studies of intramolecular vibrational energy redistribution (IVR), a process that is intimately related to the assumption of random energy flow in the statistical theory of unimolecular decay. This book is devoted exclusively to the study of state- or energy-selected systems. However, in order to place these studies in the context of the much larger field of unimolecular reactions in general, we provide a brief background of the field up to about 1970. The experimental studies of unimolecular reactions developed in three stages. The early studies involved strictly thermal systems in which molecules were energized by heating the sample either in a bulb (Chambers and Kistiakowsky, 1934; Schlag and Rabinovitch, 1960; Flowers and Frey, 1962; Schneider and Rabinovitch, 1962), or by more sophisticated methods such as shock tubes which were applied to unimolecular reactions by Tsang (1965, 1972, 1978, 1981) and others (Astholz et al., 1979; Brouwer et al.,1983). The drawback of these studies is that molecules were prepared in a very broad (albeit well characterized) distribution of internal energy states. A major advance was the use of chemical activation in the early 1960s in which a species such as CH2 reacted with a molecule, thereby forming an energized species which could either isomerize or be stabilized by collisions (Rabinovitch and Flowers, 1964; Rabinovitch and Setser, 1964; Kirk et al., 1968; Hassler and Setser, 1966; Simons and Taylor, 1969). This approach permitted the reacting species to be prepared in a narrow range of internal energies.
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