Formal, musical and interpretational analysis of Leo Brouwer's El Decameron Negro

The aim of this work is to analyze the Cuban composer and guitarist Leo Brouwer's El Decameron Negro. In order to understand both the musical and cultural origins of the composer, the formation of Afro-Cuban music and the musical culture that developed with the movements after the Cuban revolution and the effects of this cultural structure on the composer were analyzed. Brouwer composed this work in 1981 and dedicated it to Sharon Isbin. The communities living on the coast of Niger brought their cultural and musical values to Cuba, which laid the foundations of Afro-Cuban music. When 20th century Cuban music is analyzed, it is seen that the musical ensembles established before and after the revolution shaped Cuban music. The pre-revolutionary groups are Grupo Minorista and Grupo de Renovación Musical. The third is an ensemble that still exists in post-revolutionary Cuba. In general, these ensembles are characterized by a more nationalistic way of thinking. It is seen that nationalism caused composers to examine the musical movements in Europe and America and try to synthesize them with their own music, aiming to create a unique and cultural style. During this period when ensembles were formed, a movement called Afro-Cubanism emerged. The most pioneering names of this movement are Amadeo Roldan and Alejandro Garcia Caturla. It is seen that both composers served the same purpose but followed different paths. While Roldan follows a more symmetrical path in musical terms, Caturla follows a path of more freedom. While these two influences are frequently seen in Brouwer, Roldan's works are a more important guide for Brouwer. His use of Afro-Cuban elements within the technical structure of Western music inspired Brouwer for his future works. In the light of this information, the movement formed by the aforementioned ensembles and composers continues with Brouwer. In his music, it is seen that the sense of nationalism of his predecessors, the need to make universal music, Caturla's free music understanding and Roldan's symmetrical musical structure, Afro-Cuban musical elements are frequently used in his works and these elements are included in El Decameron Negro. It is seen that the work consists of three sections. A close look at these sections reveals that they are similar to each other from time to time, but the method, narration and story they use are different from each other.