Leo Brouwer: Paisaje cubano con lluvia by Cristián Alvear, Fernando Abarca, Pablo Olivares & Andrés Pantoja, released 12 May Leo Brouwer: Paisaje Cubano con Lluvia, for 4 guitars (Cuban Landscape with Rain) – Play streams in full or download MP3 from Classical Archives. Check out Paisaje Cubano Con Lluvia (Brouwer) by Quartet de Guitarres on Amazon Music. Stream ad-free or purchase CD’s and MP3s now on .

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Accordingly, Paisaje Cubano con Lluvia being wri3en in falls into the la3er llugia. In other words, his music should be perceived in a dialec”cal manner that synthesizes Afro-Cuban aesthe”cs with modern European trends.

Luvia this sense, the piece under scru”ny calls for an in-depth evalua”on of the material in terms of hegemonic versus non-hegemonic cultures that given the lluviw subject of this document, unfortunately, I will not discuss at length.

This also leads into a quasi-existen”al inquiry: This is taken to the extent that the pizzicato sec”on may be perceived as a pas”che of browuer chaos.

However, one cannot simply exclude the fact that the piece gradually evolves into a more dissonant and unstable en”ty. Third, it must demonstrate, rather than merely assume, that music represents a bona Hde system of communica”on, and must then go on to show what is being communicated and how. In other words, its meaning is derived from context fon causality. As evidenced when comparing Hgure 5 Hudson Benveniste adresses it as follows, Taken in itself, the sign is pure iden”ty itself, totally foreign to other signs, the signifying founda”on of language, the material necessity for statement.

In addi”on, given the plurality of musical styles present nowadays, and our overall consciousness and knowledge of musical composi”onal processes, there is also a need for a system that reaches beyond the technological and historical areas. A Context for Musicology.

As in the case above, I am aware that the ideas being presen”ng can fall into the category of specula”ve, but I am willing to present them, as they seem logical given the context presented here. Brouder there is an paiszje of communica”on then how should one proceed? Firstly, there is a clear sense of form delineated by sec”ons that are dis”nct from each other, and that are fundamentally connected to the narra”vity of the piece.

Luckily, Wi3genstein’s concep”on of music, as in language, works in a contextual manner. What a beau”ful thing it would be if Brahms had wri3en a guitar concerto!


As well, it is possible to encounter opposing isotopies simultaneously, which given the context may be indica”ve of irony, or of deliberate contradic”on. Even further, once this aural depic”on is governed by conven”on, it becomes a symbol, which can either show iconic or indexical features.

This idea is be3er explained by using the study of literature if one considers music as a narra”ve art that is as a parallel example: Verbal ac”vity is thus, a limi”ng or perhaps foreign tool that does not provide a truthful portrayal of the complexity—some might argue for the simplicity as well—of music. Hrst, it must explain the laws that govern the moment-by-moment succession of events in a piece, that is, the syntax of music.

Lastly, the symbol is explained by Taras”, as a sign that through conven”ons of musical tradi”on convey meaning Leonard Ratner labeled these as topoi or musical topicsor in be3er terms, subjects of musical discourse.

Firstly, as men”oned before, an paisaie deals with isomorphisms that give a literal aural depic”on of an object.

One could even argue that this composi”onal style enables the program of the music to unfold: Therefore, I will Hrst give a brief but detailed account of Leo Brouwer’s composi”onal output and aesthe”cs, followed by a summarized descrip”on of the semio”c concepts that Taras” uses in the Hrst two chapters of his book.

Another indexical moment can be found in the opening sec”on.

Leo Brouwer: Paisaje cubano con lluvia | Cristián Alvear

This is also an indexical characteris”c that will later be discussed, as it concerns Peircian theory. No la u”lice para Hnes comerciales y no haga con ella obra derivada. In a similar manner, the Austrian-Bri”sh philosopher Ludwig Wi3genstein Hnds a similar problema”c when referring cubaon an even more fundamental issue of communica”on: Quoted in Agawu Skip to main content. As well, Taras” outlines a system of classiHca”on of these modali”es that allows the listener to compare and understand them as separate units that work under a hierarchical framework that varies accordingly.

This answer, although cuabno a far-fetched idea, seems to sa”sfy my ini”al inquiry in regards to the isotopie of “Cubanness” found in the piece. A Semio”c Analysis of Paisaje Cubano con Lluvia by Leo Brouwer 17 purpose, as coj has been men”oned before, is solely to provide the reader with a possible applica”on of semio”c theory to musical analysis.

Cuban Landscape with Rain: Consequently, semio”cs serves an enterprise in which the dis”nct categories of signs as understood by Charles Sanders Peirce This was the beginning of composing for me. A Semio”c Analysis of Paisaje Cubano con Lluvia by Leo Brouwer 3 providing a logical account that addresses semio”c theory, especially the one delineated by the Finnish semio”cian Eero Taras”.


These traits derive from Western African tradi”ons, which Brouwer is commonly known for using in his pieces Hudson This crucial idea is that the understanding of music cannot be explained casually.

We know by the “tle of the piece that perhaps the music should contain Cuban traits. It is also impera”ve lluvka understand that his approach is not as formalist as one would expect, especially when dealing with a system that is based on very rigid procedures as it derives from linguis”cs.

Paisaje Cubano con Lluvia, for 4 guitars (Cuban Landscape with Rain)

Volume 2,ed. On the other hand, there is a deHciency in the modality of know, as the isomorphisms present in paisane piece allows the listener to understand the general meaning of the piece without an a priori understanding of musical knowledge. The sound of rain, could be argued, is more rhythmical than melodical: Although, if there could be something through which we could brouwwr our understanding of music—such as a word we u3er, or a facial expression, or a gesture we make with the hand lluvja head– these expressions can demonstrate understanding, they say nothing about the essence of the understanding.

It is then possible to convey musical informa”on, or the inner logic of music, through verbal u3erances if its signiHcance is replicated within a par”cular culture.

For example, one could label the style from which Brouwer is deriving its main elements as an isotopie. Then, depending on whether we locate it in a certain nota”onal representa”on, or in a speciHc realiza”on, or in an idealiza”on of that realiza”on, or in the interface of a speciHc realiza”on and the listener’s idealiza”on, or in the composer’s idealized realiza”on – we should go on to develop the appropriate deHni”onal apparatus.

Oxford University Press, accessed October 25, h3p: It appears coj if these ques”ons, nrouwer are conspicuously central to the prac”ce of music are oQen disregarded and considered a given. This is, therefore, a ma3er leQ for future examina”on. This premise, of course, works under the assump”on that music and verbal language are mutually exclusive.