Orientador: Emerson Luiz de Biaggi / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T17:02:25Z (GMT). No. of bitstreams: 1 MocciaroGallardo_Liliana_M.pdf: 1557745 bytes, checksum: 5ab22341eb73c4b7360809987e93f873 (MD5) Previous issue date: 2009 / Resumo: A Sonata para viola solo de György Ligeti, composta entre 1991 e 1994, contém os processos compositivos característicos do período entre 1950 e 1994. A Sonata é composta por seis movimentos: Hora Lunga , Loop, Facsar, Prestissimo con sordino, Lamento e Chaccone chromatique. A obra destaca e valoriza a sonoridade da viola explorando todos os registros e muitas das possibilidades técnicas do instrumento. Com o objetivo de alcançar uma interpretação embasada no estilo do compositor, iniciamos a pesquisa com uma breve biografia, buscando informações que aproximem o intérprete de sua obra e seu pensamento musical. A seguir, o segundo capítulo contextualiza teoricamente cada movimento da sonata, preparando o caminho para as decisões adotadas na prática, descritas no terceiro capítulo, que tem o objetivo de auxiliar na resolução das demandas técnicas e interpretativas da obra. / Abstract: The Sonata for solo viola (1991-1994) by György Ligeti features the musical processes created by the composer in the period between 1950 and 1994. The work consists of six movements: Hora Lunga, Loop, Facsar, Prestissimo con sordino, Lamento and Chaccone chromatique. The piece features and values the sonority of the viola, by exploring its whole range and many of its technical possibilities. In order to achieve a performance based on the composer's style we begin this study with a short biography, highlighting information which will help the performer understand the composer's musical thinking and works. The second chapter outlines theoretically each movement of the sonata, paving the way for the subsequent technical strategies put into practice, and described in the third chapter, which has the purpose of helping to solve the work's technical and interpretative demands. / Mestrado / Praticas Interpretativas / Mestre em Música

La thèse à venir s'inscrit tout d'abord dans la continuité des recherches réalisées au cours du master : une approche purement musicologique spécialisée sur l'élaboration du temps musical dans l'œuvre de Ligeti. Ce premier champ d'étude cernera le corpus du compositeur par un élargissement analytique et théorique à l'ensemble de sa production, au niveau de la partition et de l'enregistrement sonore – par le prisme des fonctions sérielles et le filtre des solutions postsérielles. Cependant, l'étude et le discours sur la musique ne peuvent se borner exclusivement à l'étude de partition. En effet, la musique – comprise dans ce futur travail comme l'expression du temps musical – demeure un acte issu de l'intrication et de l'interaction d'un ensemble de médiateurs – une création en chaîne – indispensables à son existence, à sa réalité, à sa finalité – à sa fonction. Ainsi, le deuxième champ de recherche enveloppera les propos des acteurs principaux : ceux du compositeur (qui conçoit l'objet sonore en lui donnant une forme pré-existante), de l'interprète (qui reçoit l'in-formation préexistante afin d'en assumer par l'exécution la formation), et de l'auditeur (qui reçoit et achève par l'acte de l'écoute – supposée – attentive, la construction de l'œuvre). Enfin, cette thèse tiendra compte de l'influence de l'observateur sur l'ensemble du protocole expérimental – de la projection du chercheur sur l'objet de l'étude. / The thesis to come joins first of all in the continuity of the researches realized during the Master's degree I and II: a purely musicological approach specialized on the elaboration of musical time in the work of Ligeti. This first field of study will encircle the corpus of the composer by an analytical and theoretical extension to its whole production, at the level of the score and of the sound recording – by the prism of the serial functions and the filter of the postsérielles solutions. However, the study and the speech on the music cannot restrict itself exclusively to the study of score. Indeed, the music – included in this future work as the expression of musical time – remains an act stemming from the intricacy and from the interaction of a set of mediators – a creation in chain – indispensable to its existence, to its reality, to its end – in its function. So, the second field of research will wrap the comments of the main actors: those of the composer (who conceives the sound object by giving him a pre-existing shape), of the interpreter (who receives the pre-existent in-formation to assume by the execution the formation), and of the listener (auditor) (who receives and finishes by the act of the listening – supposed – attentive, the construction of the work). Finally, this thesis will take into account the influence of the observer on the whole experimental protocol – of the projection of the researcher on the object of the study.

This dissertation investigates the relationship between György Ligeti’s soundmass works and the musical past. After his emigration in 1956, Ligeti (1923-2006) gained renown for his sound-mass style, exemplified in works such as Apparitions (1958- 59), Atmosphères (1961), Requiem (1963-65) and Lontano (1967). These works minimize the perceptual salience of melody, rhythm and harmony, instead foregrounding orchestral clusters and thus suggesting that timbre is the central compositional issue. Despite his immersion in the creative atmosphere of the Darmstadt circle, Ligeti’s soundmass works diverged from the serial, pointillist style that preoccupied the European avant-garde at the time. However, I argue that Ligeti’s distance from the Darmstadt avant-garde is only apparent. In fact, this milieu served as his primary socio-cultural reference point after his emigration. The concept of “historical memory,” following from the work of French sociologist Maurice Halbwachs (1877-1945), suggests that Ligeti’s understanding of the musical past was deeply shaped by the collective interpretations in circulation amongst the Darmstadt avant-garde circle. Analysis of Ligeti’s sketches, writings and scores shows that he recollected historical influences that were important in the discourses of his milieu and redeployed them in his sound-mass works. For example, Ligeti’s Apparitions shows traces of the analyses of Debussy’s Jeux that were produced by Herbert Eimert and Karlheinz Stockhausen. Atmosphères, though it is an acoustic work, reflects the collective representation of electronic music that had developed at the Westdeutscher Rundfunk studio in Cologne. The Darmstadt composers’ sustained interest in the concept of Klangfarbenmelodie, as practiced by both Schoenberg and Webern, informs Ligeti’s use of timbre in Lontano and the Cello Concerto. Finally, Ligeti capitalizes upon the popularity of Webern around Darmstadt, using Webern’s music as an opportunity to recast Bartók’s achievements to his new Western European colleagues in the Requiem. Ligeti’s renegotiation of the musical past, within the discourses of his Darmstadt avantgarde milieu, was crucial for his composition of the sound-mass works. / text

This dissertation is in two unrelated parts: the first part is the Dissertation Essay (p. 1-49) and the second part is the Dissertation Composition (p. 50-178). The Dissertation Essay is an analysis of György Ligeti's Étude 1: Désordre (Disorder) (1985) for piano. In the first part of the essay, there is a short introduction to Ligeti's Piano Etudes, quotations by him, and basic information about the Désordre. In the second part the etude's melodic lines are discussed, with help of figures of the phrases of the melodic lines. The main focus of the composition is in rhythm, which is given consideration in the third and most extensive part. The rhythm is approached from a perspective of different rhythmic levels, also with the help of figures. Finally in the fourth, shifting and form are scrutinized. The last part is followed by Conclusions, Bibliography / Works Cited, and Appendix (Analysis sheets of Désordre). In the analysis sheets of Désordre (Appendix) the etude is approached from the points of view of rhythmic levels of two individual lines, phrasings of these melodic lines, shifting of bar lines (between right and left hands) and overall form. Throughout this essay it is recommended that one follows Appendix. Désordre is a refined combination of systematic and non-systematic music. Ligeti bends, changes and breaks the system along the way. The fine balancing between the order and disorder, is a core idea of the composition. The Dissertation Composition is Velinikka, Concerto for Quarter-tone Accordion and Chamber Orchestra (2008). The composition was commissioned by Gaudeamus Music Week and is dedicated to Veli Kujala. Velinikka, 25-minute work, was premiered on September 1st, 2008 by Veli Kujala, quarter-tone accordion, and Insomnio conducted by Ulrich Pöhl at Muziekgebouw aan 't IJ in Amsterdam. The cadenza of the concerto is improvised or/and composed by the soloist. Cooperation between Veli Kujala and the undersigned has led to an elaboration of a new instrument, the quarter-tone accordion. The most significant difference between the quarter-tone accordion and a standard chromatic button accordion with free-bass system is that the reed blocks inside the accordion are replaced with quarter-tone reed blocks. The quarter-tone reed blocks are able to produce a complete quarter-tone scale of nearly five-octave range. The quarter-tone accordion was invented by Veli Kujala in 2004. The quarter-tone reed blocks were designed by Veli Kujala and built by Pigini, an accordion factory in Italy, in 2006. The tuning system used is quarter-tone equal temperament, in which the scale divides an octave into 24 equal-ratio steps. Today many composers are interested in using micro-intervals. This increases demand for instruments able to produce them. The quarter-tone accordion is one of the answers for this demand.

Th. Etat--Esthétique--Paris 8--Vincennes Saint-Denis, 2004. / Bibliogr. p. 488-495.

Concerto for orchestra is a twenty-minute work for large orchestra. It was conceived from my personal interest in creating a musical narrative that could create different moods, colors, contrast, agreement, tension, and resolution. I had a major influence from Ligeti’s Double Concerto regarding pitch, mood and form organization. I used his technique of interval signal to differentiate different sections of a movement as well as chromatic balance─the alternation of diatonic scales related chromatically. I also had influences from Mahler, Debussy, Nancarrow, and from my own work. The narrative of my Concerto is based on Ligeti’s notion of states, events and transformations. My Concerto presents states that are transformed into new states. The piece is divided in four movements: Lights, Convergences, Lights II, Convergences II. The Lights movements favor delicate texture, based on a major melodic line and a subtle accompaniment. They also give prominence to solo sections. Convergences favors the idea of dialogue, multitudinousness, contrast, and dense textures. Convergences II emphasizes the tutti versus solo and ritornello form from Baroque concertos. / text

On the Creation of Matter is a ten-minute composition for orchestra in which I explore large-scale musical texture through the use of uncommon orchestral techniques. The piece is comprised of three major sections: the introduction of space and time, the event, and the culmination. Each section features new textures while retaining harmonic references to earlier material. Heavily influenced by the works of György Ligeti and Krzysztof Penderecki, On the Creation of Matter musically captures the initial stillness of space and time and follows their transformation through a major astronomical event. In On the Creation of Matter I use concepts first explored by Ligeti and Penderecki and manipulate them to create a fully original new work for the concert stage.

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Este trabalho acata Musica ricercata (1951-53), importante obra do período húngaro de György Ligeti, sob o ponto de vista da performance musical. Estruturado em três capítulos, no primeiro investiga a maneira como o conjunto de onze peças reflete o reposicionamento artístico e político de Ligeti nos anos anteriores à sua saída de Budapeste em direção à Europa Ocidental, ocorrida em 1956, e se firma como marco de sua independência artística. No segundo capítulo, centramos a pesquisa no projeto composicional de Musica ricercata com objetivo de identificar tópicos de sua organização estrutural que seriam aprofundados por Ligeti em sua obra madura e, consequentemente, reafirmam a profunda reorientação tratada no capítulo anterior. Por fim, o terceiro capítulo aborda cada uma das onze peças do ciclo e investiga as relações de reciprocidade entre seu pensamento composicional, a notação empregada pelo compositor e, finalmente, sua execução. / The present study regards Musica ricercata (1951-53), an important work from György Ligeti\'s Hungarian period, from the perspective of musical performance. Structured in three chapters, the first one investigates how this collection of eleven pieces reflects both Ligeti\'s artistic and political positioning in the years that preceded his exit from Budapest towards Western Europe in 1956 and stands out as a turning point for his artistic independence. In chapter 2, the research focuses on Musica ricercata´s compositional project in order to identify some topics of its structural organization which would be amplified by Ligeti on his mature work and, consequently, reaffirm the deep reorientation considered in chapter 1. Finally, the third chapter discuss each one of the eleven pieces from the cycle in order to investigate reciprocity relations among his compositional thinking, the notation used by the composer and, eventually, their performance.