Tarantos by Leo Brouwer as an Example of Aleatoric Composition in Guitar Music

Öz

The 20th century marked a period of profound transformations in European classical music, leading to the emergence of various musical movements. Aleatoric music, characterized by the incorporation of chance elements into the composition or performance, stands out as one of the most significant of these movements. Leo Brouwer is a prominent representative of aleatoric music in the guitar repertoire. This article explores the concept of aleatoric music through examination and analysis of Brouwer’s Tarantos within the context of classical guitar. The research methodology employed is a case study, a qualitative research method. The data collection method involves document analysis. The concept of aleatoric music and Leo Brouwer’s life are elucidated, followed by a descriptive analysis of the notation and unique aspects of Tarantos. Tarantos was chosen due to its suitability as an example of aleatoric music for the guitar. The research concludes by examining the formal structure of Tarantos, its notation, and the ways in which it aligns with the characteristics of aleatoric forms. The findings of this article are expected to guide both performers and listeners in understanding the notation and performance possibilities of Tarantos as an example of aleatoric music for the guitar.

Anahtar Kelimeler

• Aleatoric Music
• Tarantos
• Classical Guitar
• Leo Brouwer

Kaynakça

1. Akıncı, A. (2008). Leo Brouwer’ın bestecilik dili ve dönemleri Tres Apuntes, Canticum, El Decameron Negro eserlerinin dönemsel ve biçimsel analizleri [Leo Brouwer’s compositional language and periods: Periodical and formal analyses of Tres Apuntes, Canticum, and El Decamerón Negro] [Master’s Thesis, Istanbul University]. Yükseköğretim Kurulu Ulusal Tez Merkezi. google scholar
2. Andrians, V. (2017). Karakteristik komposisi Tarantos untuk solo gitar klasik karya Leo Brouwer. Pendidikan Seni Musik - S1, 6(3). google scholar
3. Austin, W. (1953). The idea of evolution in the music of the 20th century. The Musical Quarterly, 39(1), 26–36. http://www.jstor.org/stable/740032 google scholar
4. Aytaçlı, B (2012). Durum çalışmasına ayrıntılı bir bakış [An in-depth examination of case studies]. Adnan Menderes Üniversitesi Eğitim Fakültesi Eğitim Bilimleri Dergisi, 3(1), 1-9. google scholar
5. Baltacı, A. (2018). Nitel araştırmalarda örnekleme yöntemleri ve örnek hacmi sorunsalı üzerine kavramsal bir inceleme [A conceptual review of sampling methods and sample size problem in qualitative research]. Bitlis Eren Üniversitesi Sosyal Bilimler Dergisi, 7(1), 231-274. google scholar
6. Betancourt, R. (n.d. [1998]). A close encounter with Leo Brouwer. Musicweb-international. Retrieved April 18, 2025, from http://www.musicweb-international.com/brouwer/rodolfo.htm google scholar
7. Brouwer, L. (1977). Tarantos [Guitar Notation]. Editions Max Esching. google scholar
8. Brouwer, L. (1994). Rito de los orishas [Guitar Notation]. Les Editions Doberman-Yppan. google scholar

9. Century, P. (1987). Leo Brouwer: A portrait of the artist in socialist Cuba. Latin American Music Review/Revista De Musica Latinoamericana, 8, 151. https://www.jstor.org/stable/780096 google scholar
10. Eco, U. (2023). Açık yapıt [The open work] (6th Edition) (Tolga Esmer, Trans). Can. google scholar
11. Einstein, A. (1915) On the General Theory of Relativity. Sitzungsber. Preuss. Akad. Wiss. Berlin (Math. Phys.), 1915, 778-786. google scholar
12. Dumond, A., & Denis, F. E. (1988). Entretiens avec Leo Brouwer. Les Cahiers de la Guitare (4e Trimestre), pp. 12–20. google scholar
13. Feridunoğlu, L. (2004). Müziğe giden yol [The road to music] (3rd Edition). İnkılap. google scholar
14. Flood, E. (2020). The Influence of Santería in Leo Brouwer's Solo Guitar Works (1955-1993) [Doctoral Thesis, Technological University Dublin]. Arrow. google scholar
15. Foggo, R. (2021). Flamenco: Musical structure and the practice of improvisation. Musicologist, 5(1), 47-65. https://doi.org/10.33906/musicologist.880602 google scholar
16. Fülöp, K. (2021). The Sarabande in Leo Brouwer’s work for the classical guitar (Publication No. 80E898CF) [Master’s Thesis, Instituto Politecnico do Porto]. Repositório Científico do Instituto Politécnico do Porto. google scholar
17. Ganioğlu Yalçın, C. (2024). Yeni müzikte grafik notasyon: Yapıt ve icracı için bir yeniden doğuş? [Graphic notation in new music: A rebirth for the work and the performer?]. Konservatoryum, 11(2), 301-311. https://doi.org/10.26650/CONS2024-1511370 google scholar
18. Grant, M. J. (2005). Serial music, serial aesthetics: compositional theory in post-war Europe (Vol. 16). Cambridge University. google scholar
19. Hoogerwerf, F. W. (1976). Cage contra Stravinsky, or delineating the aleatory aesthetic. International Review of the Aesthetics and Sociology of Music, 7(2), 235–247. https://doi.org/10.2307/836697 google scholar
20. Jeongwon, J., & Song Hoo, S. (2002). Roland Barthes’ "text" and aleatoric music: Is "the birth of the reader" the birth of the listener?. Muzikologija, (2), 263-281. https://doi.org/10.2298/MUZ0202263J google scholar
21. Kocher, P. (2016, Aralık). Rethinking ’open form’ [Conference Paper]. 19th Generative Art Conference, Switzerland. https://doi.org/10.7892/boris.92328 google scholar
22. Kronenberg, C.W. (2008). Guitar composer Leo Brouwer: The concept of a ’universal language’. Tempo, 62, 30-46. https://doi.org/10.2307/780096 google scholar
23. Kutluk, F. (1997). Müziğin tarihsel evrimi [Historical evolution of music]. Çiviyazıları. google scholar
24. McKenna, C. (n.d. [1988]). An interview with Leo Brouwer. Angelfire. Retrieved April 18, 2025, from https://www.angelfire.com/in/eimaj/interviews/leo.brouwer.html google scholar
25. Sak, R., Şahin Sak, İ. T., Öneren Şendil, Ç., & Nas, E. (2021). Bir araştırma yöntemi olarak doküman analizi [Document analysis as a research method]. Kocaeli Üniversitesi Eğitim Dergisi, 4(1), 227-256. https://doi.org/10.33400/kuje.843306 google scholar
26. Savaş, M. (2017). Rastlantısal müziğin tarihsel sebepleri [The historical reasons behind aleatoric music]. Uluslarası Müzik ve Sahne Sanatları Dergisi, 1(1), 1-10. google scholar
27. Subaşı, M., & Okumuş, K. (2017). Bir araştırma yöntemi olarak durum çalışması [The case study as a research method]. Atatürk Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, 21(2), 419-426. google scholar
28. Tuncer, K.A. (2021). 20. yüzyıl müziği yeni notasyon uygulamaları üzerine bir inceleme [A review on the 20th century novel notation practices]. Journal Of Social, Humanities and Administrative Sciences, 7(36):142-153. https://doi.org/10.31589/JOSHAS.538 google scholar
29. Yeprem, M. S. (1998). Flamenko stilleri ve gitar eğitiminde kullanılabilirliği [Flamenco styles and their use in guitar education] [Master’s Thesis, Marmara University]. Proquest. google scholar
30. Yöre, S. (2011). Çağdaş müzik: Bestecilik ana akımları, teknikleri ve başlıca besteciler [Contemporary music: Main compositional trends, techniques, and leading composers]. Çukurova Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, 20(3), 1-19. google scholar