Orientador: Mauricy Matos Martin / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-05T01:49:33Z (GMT). No. of bitstreams: 1 Shimabuco_LucianaSayure_D.pdf: 32711734 bytes, checksum: f295ec999192b805044f68e56539e7d4 (MD5) Previous issue date: 2005 / Resumo: A forma como resultante do processo composicional de Gyõrgy Ligeti no primeiro livro de Estudos para piano salienta aspectos que estabelecem os Estudos de Ligeti entre os expoentes do repertório pianístico contemporâneo, não apenas pela sua substância composicional, mas também pela renovadora abordagem das possibilidades oferecidas pelo piano. Para tanto, a tese está estruturada em três capítulos: CAPÍTULO 1 - O compositor: Gyõrgy Ligeti. Trata-se de um estudo que transita cronologicamente pelos diversos períodos biográficos do compositor, reconhecendo eventos que agiiram diretamente em seu desenvolvimento e em sua conformação artística. Contextualiza compositor e obra no cenário artístico e cultural dos séculos XX e XXI, estabelecendo um campo de informações embasadas em textos e entrevistas do próprio compositor e necessárias a uma compreensão mais frutífera da obra abordada neste trabalho. CAPÍTULO 2 - A obra: primeiro livro de Estudos para piano. Após uma breve abordagem histórica da produção pianística do compositor - desde o período húngaro até o surgimento dos Estudos, na década de 80 - este capítulo oferece o levantamento e a análise dos materiais e processos composicionais empregados na elaboração da obra estudada, enfocando aspectos especificamente musicais. Salienta, sobretudo, a interação desses aspectos no delineamento de uma forma individual para cada estudo. CAPÍTULO 3 - Considerações sobre realização e interpretação pianísticas dos Estudos para piano de Gyõrgy Ligeti, com foco em "Cordes à vide". Este capítulo é dedicado à apresentação de alternativas que contribuam para uma melhor performance pianística da obra, acatando Cordes à vide como objeto de estudo. Serão enfocados tanto aspectos técnicos pianísticos, levantados durante o processo de estudo e preparação da peça, quanto interpretativos, respaldados em informações oferecidas pela partitura e em conclusões extraídas da análise musical realizada / Abstract: The Form as' a Result of Gyõrgy Ligeti's Compositional Process in the First Book of Etudes for Piano emphasizes aspects of Ligeti's Etudes that establish them among the best exponents of contemporary pianistic repertoire, not only by their compositional substance, but also by their innovative approach of the possibilities offered by the piano. Thus, the thesis is organized in three chapters: CHAPTER 1 - The Composer: Gyõrgy Ligeti. This chapter deals with a chronological study of the diverse periods of the composer's biography, identifying events that direct1y influenced his personal and artistic development. It puts into context the composer and his works within the artistic and cultural scenario of the XX and XXI centuries. This work has established a record of texts and interviews of the composer which are essential in the full comprehension of the Etudes for Piano. CHAPTER 2 - The Work: First Book of Etudes for Piano. Afier a brief historical overview ofthe composer's piano works - from the Hungarian period to the Etudesofthe 80's - this chapter surveys and analyzes the compositional process employed by the composer in the Etudes, focusing on specific musical aspects and above all, how these aspects contributed to the individual form of each Etude. CHAPTER 3 - Considerations on the Performance and Pianistic Interpretation of the Etudes for Piano by Gyõrgy Ligeti, with Special Focus on "Cordes à vide". This chapter offers altematives that are intended to improve the pianstic performance of the work, using Cordes à vide as the object for study. It will not only address, the technical pianistic aspects that were observed during the process of study and preparation of the piece, but also interpretive aspects, supported by information contained in the score and on conclusions extracted from the musical analysis / Doutorado / Doutor em Música

A partir d'une interprétation musicologique de la notion scientifique de "modélisation et simulation'', cette thèse présente une approche d'analyse assistée par ordinateur où les partitions musicales sont reconstruites à partir de processus algorithmiques et simulées avec différents paramètres à partir desquels des variantes, appelés instances, sont générés. L'étude d'une pièce musicale par modélisation et simulation signifie comprendre l'oeuvre en la (re) composant de nouveau, en brouillant les limites entre le travail analytique et créatif. Cette approche est appliquée à trois études de cas: 1. une technique isolée, la "multiplication d'accords'', utilisé par Pierre Boulez (1925- 2016), qui a été explorée à travers le prisme formé par les théories de H. Hanson, S. Heinemann et L. Koblyakov; 2. La pièce "Spectral Canon pour Conlon Nancarrow" (1974) du compositeur américain James Tenney (1934-2006) à laquelle la simulation computationnelle à partir de différents paramètres a été prise à ses conséquences ultimes quand un "espace d'instances" est explorée a partir de stratégies de visualisation graphique; 3. Et enfin "Désordre" (1985), le première étude pour piano de l'austro-hongrois György Ligeti (1923-2006) dans laquelle les concepts de "tonalité combinatoire" et "décomposition en nombres premiers'', appliqué aux durées, ont été utilisés pour maximiser le potentiel de production d'instances. / From a musicological interpretation of the scientific notion of “modeling and simulation”, this thesis presents an approach for computer-aided analysis where musical scores are reconstructed from algorithmic processes and then simulated with different sets of parameters from which neighbouring variants, called instances, are generated. Studying a musical piece by modelling and simulation means to understand the work by (re)composing it again, blurring boundaries between analytical and creative work. This approach is applied to three case studies: an isolated technique, Pierre Boulez Chord Multiplication, which is explored through the prism formed by the theories of H. Hanson, S. Heinemann and L. Koblyakov; the piece Spectral Canon for Conlon Nancarrow (1974) by the american James Tenney (1934-2006) to which the computational simulation from different sets of parameters was taken to its ultimate consequences when a “space of instances” is created and strategies of visualisation and exploration are devised; and finally “Disorder”, the first piano study written by austro-hungarian György Ligeti in which the concepts of “combinatorial tonality” and “decomposition prime numbers”, applied to durations, are used to maximize the potential that a model has to produce different variations of the original piece.

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Reference to a regular pulse is one of the most common ways of measuring time in music. As the basis for tempo, meter, subdivisions, and even formal symmetry, pulse, or the sonic articulation of regular units of time, is found throughout all levels of music. In this paper, I describe how I used a structure of twelve simultaneous pulses to compose "Monolith," a recent piece for MIDI piano, Pierrot ensemble, and fixed electronics. In the first chapter, I contextualize "Monolith" by briefly examining pulse's relationship to hierarchical structure in music and the possibilities for creativity in pulse-based hierarchical structures. In the second chapter, I analyze the use of pulse in Steve Reich's "Music for 18 Musicians," György Ligeti's "Self-portrait with Reich and Riley (with Chopin in the background), and Conlon Nancarrow's "Study No. 36 for Player Piano." In the third chapter, I describe in detail the relationship between the twelve-pulse structure and the various movements that comprise "Monolith," focusing on the relationship between compositional freedom and prescribed structure throughout the work.

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Cette thèse propose une approche transversale entre différentes disciplines : musicologie historique, musicologie analytique (analyse des œuvres et génétique de l’œuvre) et sociologie des arts (analyse socio-économique et analyse sociologique de la trajectoire de l’œuvre). Les compositeurs de la « Nouvelle Simplicité » sont à l’origine d’un courant compositionnel très large réintégrant les formes musicales traditionnelles dans une interprétation nouvelle, réactivant la fonction de la polarité des consonances et des dissonances. La notion de « simplicité » et les idées qui ont émergé de ce concept ont ainsi été un catalyseur qui a participé à l’établissement du postmodernisme en Allemagne. Toutefois, la génération de la « Nouvelle Simplicité » et leurs idées et concepts en communs ont trouvé une fin brutale avec la chute du mur de Berlin et les changements culturels et politiques induits par ce bouleversement. Les évolutions politiques et la création d’une nouvelle Akademie der Künste Berlin qui représentait une fusion de l’Akademie der Künste Berlin est et ouest ont abouti à une opposition entre deux signataires du premier manifeste de cette génération de compositeurs : W. Rihm, avec son abstention du débat, et H-J. von Bose, avec son retrait de l’Akadémie der Künste Berlin (il sera suivi de plusieurs autres artistes tels que G. Ligeti et G. Baselitz). Cela marque la fin définitive de la collaboration de cette génération de compositeurs. / This thesis proposes a cross-disciplinary approach between: historical musicology, analytical musicology (analysis of pieces and the genetics of the piece) and art sociology (socio- economic analysis and sociological analysis of artistic practice). The "New Simplicity" composers were the source of a very wide compositional current reintegrating traditional musical forms in a new interpretation, reactivating the function of the polarity of consonance and dissonance. The notion of "simplicity" and ideas that emerged from this concept were a catalyst that contributed to the establishment of postmodernism in Germany. However, the generation of the "New Simplicity" and their shared ideas and concepts came to an abrupt end with the fall of the Berlin Wall and the cultural and political changes induced by this upheaval. Political developments and the creation of a new Akademie der Künste Berlin representing a fusion of Akademie der Künste Berlin East and West led to an opposing position between two first manifesto signatories of this generation of composers: W. Rihm with his abstention from the debate and H-J. von Bose with his withdrawal from the Akademie der Künste Berlin in common with many other artists such as G. Ligeti and G. Baselitz, marking the definitive end of the collaboration of this generation of composers.

Welche Bühnenfigur konnte in italienischen Opern um 1800 als Liebhaber oder als Verführer erfolgreicher sein als ein Counter oder ein Kastrat? Höchstens die als Mann verkleidete Frau. Auf sie flogen die Frauen in Frauenkleidern. Wer quer zum üblichen Geschlechterunterschied stand, war auch kompositorisch besonders attraktiv: Züge des einen Geschlechts mussten mit stimmtechnischen, d.h. auch körperlichen Bedingungen des anderen erreicht werden. Auf andere Weise sah sich der Komponist von einem den Geschlechtscharakter der Bühnenfigur gerade nicht verwischenden, sondern explizit festlegenden Genre herausgefordert, der Wahnsinnsszene. Der Text hatte nicht nur davon zu reden, dass die Figur wahnsinnig sei, die Musik musste es zeigen oder: es selber werden. Wahnsinnig wurde in den allermeisten Fällen nur die von einer Frau dargestellte Frau, und zudem war das Privileg solche Szenen zu übernehmen an eine oft besonders hohe Stimmlage gekoppelt. Welchen Schwierigkeiten der Komponist begegnete, wollte er das Genre von dem weiblichen auf das männliche Geschlecht transponieren, wird an einer der seltenen Opernszenen gezeigt, in denen ein Mann, zudem einer mit tiefer Stimme, wahnsinnig werden darf.

Welche Bühnenfigur konnte in italienischen Opern um 1800 als Liebhaber oder als Verführer erfolgreicher sein als ein Counter oder ein Kastrat? Höchstens die als Mann verkleidete Frau. Auf sie flogen die Frauen in Frauenkleidern. Wer quer zum üblichen Geschlechterunterschied stand, war auch kompositorisch besonders attraktiv: Züge des einen Geschlechts mussten mit stimmtechnischen, d.h. auch körperlichen Bedingungen des anderen erreicht werden. Auf andere Weise sah sich der Komponist von einem den Geschlechtscharakter der Bühnenfigur gerade nicht verwischenden, sondern explizit festlegenden Genre herausgefordert, der Wahnsinnsszene. Der Text hatte nicht nur davon zu reden, dass die Figur wahnsinnig sei, die Musik musste es zeigen oder: es selber werden. Wahnsinnig wurde in den allermeisten Fällen nur die von einer Frau dargestellte Frau, und zudem war das Privileg solche Szenen zu übernehmen an eine oft besonders hohe Stimmlage gekoppelt. Welchen Schwierigkeiten der Komponist begegnete, wollte er das Genre von dem weiblichen auf das männliche Geschlecht transponieren, wird an einer der seltenen Opernszenen gezeigt, in denen ein Mann, zudem einer mit tiefer Stimme, wahnsinnig werden darf.

The present thesis investigates the music and career of Jeffrey Lewis (born 1942). The thesis is broadly divided into three sections. First is an account of the composer’s life, told mainly through an overview of his works, but also through a sketch of his early years in South Wales, his studies in Cardiff, Darmstadt, Kraków and Paris, his academic career in Leeds and Bangor, and his subsequent early retirement from academia. There follows a more detailed study of six works from the period 1978 – 1985, during which certain features of Lewis’s musical language came to the fore, perhaps most notably a very individual and instantly recognisable use of modal language. After an Epilogue, the thesis concludes with an Appendix in the form of a Catalogue in which all Lewis’s known compositions are listed, together with details of performances, broadcasts and recordings. Lewis’s music often plays with our temporal expectations; the close interrelationship between texture, structure, harmony and melody, and its effect upon our perception of the passage of time, are explored in the main analyses. These are conducted partly by means of comparison with other works by Lewis or his contemporaries. Memoria is examined in relation to a similarly tranquil score, Naaotwá Lalá, by Giles Swayne. The following chapter discusses the extra-musical inspiration for Epitaph for Abelard and Heloise, whose relationship to Tableau is then explored in the next. The difficulties of creating a large-scale structure that unifies the work’s various harmonic elements are also investigated. The analysis of Carmen Paschale considers it in relation to Lewis’s other choral music, whilst the final analytical chapter compares and contrasts two three-movement works, the Piano Trio and the Fantasy for solo piano. Lewis’s melodic writing in the Piano Trio is discussed in relation to that of James MacMillan, and the origins of the first movement of Fantasy in Oliver Knussen’s Sonya’s Lullaby are explored. In the Epilogue, the possible reasons for Lewis’s current neglect are explored, various influences on Lewis’s musical thinking are laid out, and his achievements are assessed.