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This study will assess the solo guitar works of Cuban composer Leo Brouwer (1939–present) in terms of influence from Santería, a ritual music derived from WestAfrican slaves and still practised in Cuba. This will be achieved by using both analytical and evaluative processes. For the former, a range of influential parameters have been identified, each falling under three strands: rhythmic and metric, structural, and melodic. These will be revealed in all of Brouwer’s solo guitar works written from 1955 to 1993. A parameter’s influence can be revealed in two ways: the multitude of its usage per piece, or the percentage of the piece which contains that particular parameter’s influence. This information provides the foundation of a number of assertions, chiefly that the influence of Santería in Brouwer’s music is more prevalent than indicated in past research. Evidence of this influence manifests itself early in his career and matures consistently throughout all three of the composer’s compositional periods. Significant innovations for each parameter are also revealed. These findings contribute to a greater understanding of Brouwer’s compositional language.
Flood, Eoin, (2020) The Influence of Santería in Leo Brouwer's Solo Guitar Works (1955–1993),Doctoral Thesis, Technological University Dublin.