THE AFRO-CUBAN AND THE AVANT-GARDE: UNIFICATION OF STYLE AND GESTURE IN THE GUITAR MUSIC OF LEO BROUWER by John Bryan Huston (Under the Direction of Susan Thomas) ABSTRACT Leo Brouwer is the most influential guitarist/composer of our time. This thesis will present an examination of his guitar music by exploring the simultaneous interaction of Afro- Cuban rhythms and musical gestures with contemporary (European and related) art music. Through the application and fusion of these two styles in his guitar music, Brouwer creates original techniques and textures for the instrument. From an analytical or performance perspective, specific knowledge of this stylistic and gestural synthesis is vital to understanding Brouwer’s musical expression and compositional process. For this study I will examine Danza característica (1957), El decameron negro (1981), Paisaje cubano con rumba (1985), and Rito de los orishas (1993). Brouwer’s use of Afro-Cuban musical referents will be shown to fall into three non- exclusive categories: Specific derivation from Afro-Cuban forms and genres, general derivation from rhythms and gestures widely used in Afro-Cuban (and derived) musical styles, and folkloric/historical derivation where Afro-Cuban sociological and religious elements serve as poetic or programmatic referents. By drawing on the works of numerous Cuban music scholars, I will document these Afro-Cuban genres and musical traits, and demonstrate Brouwer’s methods of derivation and reference in his music for guitar. I will also demonstrate the incorporation of contemporary compositional procedures in Brouwer’s guitar music. To that end, post-tonal harmonic and melodic analysis will give new insight on musical meaning and expression when combined with knowledge of Afro-Cuban forms, styles, and gestures. Additionally, I will present a technical performative analysis of specific original gestures that find their derivation in the fusion of Afro-Cuban and avant-garde musical elements. Brouwer incorporates a dynamic interplay of right-hand articulation, left-hand slurring, position variety, and use of open strings to create original textures and musical effects. Technical analysis will reveal Brouwer’s mastery of the guitar’s sonic variety, and the close association between instrumental articulation and the synthesis of musical style. INDEX WORDS: Leo Brouwer, Guitar, Cuba, Rumba, Santería, Postmodernism, Afro- Cuban, Folklore, Transculturation THE AFRO-CUBAN AND THE AVANT-GARDE: UNIFICATION OF STYLE AND GESTURE IN THE GUITAR MUSIC OF LEO BROUWER by John Bryan Huston B.B.A., The University of Iowa, 1993 M.M., Georgia State University, 1996 A Document Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF MUSICAL ARTS ATHENS, GEORGIA 2006 © 2006 John Bryan Huston All Rights Reserved THE AFRO-CUBAN AND THE AVANT-GARDE: UNIFICATION OF STYLE AND GESTURE IN THE GUITAR MUSIC OF LEO BROUWER by JOHN BRYAN HUSTON Major Professor: Susan Thomas Committee: Adrian Childs Milton Masciadri David Starkweather Stephen Valdez Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2006 DEDICATION For Tamara, my everything and my always. And for little Julian, our syncretic original. iv ACKNOWLEDGEMENTS This document would not exist without the knowledge, patience, and oversight of Susan Thomas. Her unflagging support and commitment to this project were invaluable, and she did not hesitate to dedicate countless hours to this document. I relied heavily on her expertise in Cuban music and her professional experience. She has my high esteem and gratitude. Adrian Childs played an important role in my graduate studies in music theory. His familiarity with contemporary scholarship and knowledge of the field have greatly influenced my work. His close reading and comments on early versions of this dissertation were remarkably insightful and assisted me in clarifying content. David Stakweather is a master cellist who showed me the importance of having a stickler for details on my doctoral committee. His experience in these endeavors and his dedication to consistency resulted in a more professional and scholarly document. Stephen Valdez and Milton Masciadri gave me their encouragement, constructive criticism, and support through the often difficult process of writing and defense. Valdez never let me forget the importance of this work, and Masciadri’s wit and sense of humor helped me keep everything in perspective. Finally, my doctoral studies would never have begun without the unfailing support of my soul-mate and companion. She sifted through my mad-man ravings and helped me to discover what is worth doing and preserving in this life. Tamara, what grows in this garden is yours as much as mine. v TABLE OF CONTENTS Page ACKNOWLEDGEMENTS……………………………………………………................……….v MUSICAL EXAMPLES………………………………………………………………………...viii PREFACE (HOMENAJE A ANTONIO BENÍTEZ-ROJO).......................................................... 1 CHAPTER 1: INTRODUCTION................................................................................................... 4 Review of Literature ....................................................................................................................6 Cultural Context in Musical Analysis........................................................................................10 Pre-Revolutionary Cuba and Transculturation ..........................................................................12 Contemporary Cuba and Postmodernism ..................................................................................16 CHAPTER 2: PAISAJE CUBANO CON RUMBA........................................................................ 23 A Brief History of Rumba in Cuba ............................................................................................24 Brouwer’s Minimalist Rumba....................................................................................................28 CHAPTER 3: DANZA CARACTERÍSTICA.................................................................................. 45 CHAPTER 4: EL DECAMERON NEGRO................................................................................... 56 Brouwer’s Modernist Period (1965-1978).................................................................................56 Beyond Modernism....................................................................................................................58 African Folklore as Musical Program........................................................................................59 I. El arpa del guerrero ................................................................................................................60 II. La huida de los amantes por el valle de los ecos...................................................................67 III. Ballada de la doncella enamorada........................................................................................71 CHAPTER 5: RITO DE LOS ORISHAS....................................................................................... 78 West Africa and Cuba in the Nineteenth Century: Slaves and Sugar........................................78 vi Communing with the Orishas through Rhythm and Pitch.........................................................82 Santería: Afro-Cuban Folklore and Persecuted Practice...........................................................83 General Musical Characteristics of Santería .............................................................................85 Summoning the Spirit of Santería .............................................................................................88 CONCLUSION........................................................................................................................... 105 AFTERWORD............................................................................................................................ 108 BIBLIOGRAPHY....................................................................................................................... 110 Books and Articles...................................................................................................................110 Musical Scores and Recordings...............................................................................................117 APPENDIX................................................................................................................................. 119 Glossary ...................................................................................................................................119 vii LIST OF EXAMPLES Example 2.1: Yambú clave............................................................................................................ 26 Example 2.2: Guaguancó clave .................................................................................................... 26 Example 2.3: Columbia clave....................................................................................................... 26 Example 2.4: Paisaje cubano con rumba, mm. 1-8...................................................................... 30 Example 2.5: Faverey’s mute ....................................................................................................... 32 Example 2.6: Pitch and Set-class analysis for Paisaje cubano con rumba .................................. 34 Example 2.7: The habanera rhythm ............................................................................................