Reproduction de : Thèse de doctorat : Musicologie : Lyon 2 : 2005. / Titre provenant de l'écran-titre. Bibliogr. Discogr. Index.

Zugl.: Berlin, Techn. Univ., Diss., 2007.

Made available in DSpace on 2014-08-13T14:50:58Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-03-17Bitstream added on 2014-08-13T17:59:51Z : No. of bitstreams: 1 000771815.pdf: 2531938 bytes, checksum: 8f85c7431b30ffa13ad9210016d31630 (MD5) / Este trabalho trata da influência do pensamento eletroacústico sobre a obra para piano de György Ligeti do período de 1976 a 2001. Visamos a demonstrar nossa hipótese de que, embora distantes cronologicamente dos anos em que o compositor trabalhou no Estúdio de Música Eletrônica de Colônia, tais composições foram impactadas por essa experiência. Além disso, defendemos que este aspecto também resultou em novos estilemas pianísticos e, consequentemente, na expansão escritural do repertório para piano. Baseamo-nos em escritos de Ligeti (1958-1959, 1960, 1980, 1993, 1996), bem como nas ideias de Michel (1995), Toop (1999) e Delaplace e, por meio da análise dessas ideias e estudo do repertório composto por Ligeti no referido período, pudemos verificar que existe, de fato, uma relação estreita, apesar de não aparente, entre a experiência eletrônica deste compositor e sua escritura derradeira para piano / This thesis discusses the influence of György Ligeti’s electroacoustic thinking on his piano work from 1976 to 2001. Our goal is to demonstrate that the years when the composer worked at the electronic music studio in Cologne had a strong impact on his later compositions, even though these two periods are chronologically distant from each another. We also argue that this factor resulted in new stylistic elements and as a consequence in the scriptural expansion of his pianistic repertoire. On the basis of Ligeti’s writings (1958-1959, 1960, 1980, 1993, 1996), as well as of Michel’s (1995), Toop’s (1999) and Delaplace’s, and through an analysis of their ideas and a study of Ligeti’s repertoire between 1976-2001, we were able to find that there is actually a veiled but close relationship between Ligeti’s electronic experience and his later set of piano works

Made available in DSpace on 2014-11-10T11:09:56Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-05-31Bitstream added on 2014-11-10T11:57:40Z : No. of bitstreams: 1 000795401.pdf: 3258460 bytes, checksum: a3918036269202e7cd8a97b2a95ff37c (MD5) / Após sua partida da Hungria em 1956, Ligeti permaneceu por cerca de dois meses em Viena e estabeleceu-se então, em Colônia. Neste período, esteve imerso no pensamento vanguardista em voga entre os compositores da escola de Darmstadt e Colônia. Foi neste período que Ligeti fez profunda imersão nos preceitos inerentes tanto ao modelo eletrônico quanto ao serial. Após a absorção dos preceitos oriundos da música eletrônica e da música serial, Ligeti demonstrou um profundo descontentamento com ambos os modelos e partiu para uma modalidade escrita instrumental que revolucionaria a escrita musical. O presente estudo investiga uma das mais distintas técnicas composicionais concebidas no séc. XX, técnica esta responsável não só pela criação de uma nova linguagem musical, mas também por uma revolução na escrita instrumental dada pela apropriação e pela aplicação de preceitos inerentes ao modelo eletrônico dentro da interface instrumental, o que mais tarde conhecer-se-ia por tecnomorfismo. “Confluências histórico-técnicas no conceito de micropolifonia (1956-1966)” tem por meta identificar, delinear e explicitar a influência do modelo serial e da música eletrônica sobre a técnica de micropolifonia por Ligeti concebida, assim como explicitar a maneira da qual se deu tal reação, investigando se a técnica de micropolifonia realmente consiste em uma confluência dos modelos eletrônico e serial e quais as implicações destes sobre a técnica de micropolifonia / After his departure from Hungary in 1956, Ligeti remained for about two months in Vienna and then settled in Cologne. In this moment, he was immersed in the avant-garde thought in vogue among the composers of the Darmstadt and Cologne school. While in Cologne, Ligeti deeply immersed in the precepts inherent in both electronic and serial model. After absorpting the precepts derived from the electronic and serial music, Ligeti showed a deep dissatisfaction with both models and set out to write an instrumental writing that would revolutionize musical writing. This study investigates one of the most distinct compositional techniques designed in the 20th century: micropolyphony. This technique is not only responsible for creating a new musical language, but also a revolution in instrumental writing given by the appropriation and application of principles inherent in the electronic model through the instrument interface, which later would be known by technomorphism. Historical-technical confluences on the concept of micropolyphony (1956-1966) aims to identify, outline and explain the influence of the serial model and electronic music on the technique of concepti of micropolyphony, as well as explain the manner in which it gave such a reaction, investigating whether micropolyphony actually consists of a confluence of electronic and serial models and what are the implications of these models on the technique of micropolyphony

Orientador: Denise Hortencia Lopes Garcia / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes. / Made available in DSpace on 2018-08-12T03:13:05Z (GMT). No. of bitstreams: 1 Ficagna_AlexandreRemuzzi_M.pdf: 47965132 bytes, checksum: 3000e123d248070c464b130e9d66ba04 (MD5) Previous issue date: 2008 / Resumo: O que será tratado nesta pesquisa é a busca de uma estratégia composicional para a música instrumental que conceba o material orientado às suas qualidades sonoras, ou seja, o princípio diretivo composicional é o estudo do material em seus aspectos e variações tímbricos, espectrais, morfológicos, dentre outros, princípio este que orientou o processo compositivo. Para o enriquecimento deste modelo, elaborou-se uma metodologia analítica baseada no ferramental advindo da música eletroacúsica com o intuito de priorizar modelos qualitativos (compreendendo esta como um importante paradigma na atenção ao som), em especial a tipomorfologia de Schaeffer (1966) e a morfologia espectral de Smalley (1997). O trabalho analítico, contudo, não pretendeu excluir as especificidades do suporte instrumental, agregando outras ferramentas de análise quando necessário, mas priorizando aspectos inerentes ao repertório selecionado, cujo trabalho no plano da sonoridade é flagrante, apesar de historicamente pouco explorado nas análises musicais: as obras estudadas são Hyperprism, de Edgard Varèse; e .Lento e Deserto., movimento II do Concerto para Piano, de György Ligeti. As análises, a aquisição de ferramentas teóricas necessárias e as reflexões decorrentes do processo serviram de base para a composição de obras cuja elaboração, visando autonomia poética, auxiliaram no aperfeiçoamento de uma metodologia que, ao valorizar os aspectos de elaboração no plano sonoro, respeitasse as características de cada obra e contribuísse na elaboração da estratégia composicional motivadora deste trabalho. / Abstract: This research aims for a compositional strategy to instrumental music that conceives the material through its sonic qualities, that is, what guides the compositional principle is the study of the material whose features are related through its timbre, spectral and morphological qualities, among others, in a principle that guided indeed the compositional process. To enrich this model, an analytical methodology was developed based on the tools that came from the eletroacoustic music . especially Schaeffer's (1996) typo-morphology and Smalley's (1997) spectromorphology . with efforts to look for qualitative models (the eletroacoustic music is considered here as an important reference concerning the sound perception focus). It is important to say that the analytical work done tried to maintain the characteristics inherent to the instrumental support, by using other analytical tools when necessary, always searching to respect the selected repertoire (which has an impressive work through sonorities, despite the historically neglected by analysis): the chosen pieces are Edgard Varèse's Hyperprism; and the second movement of György Ligeti's Piano Concerto, .Lento e Deserto.. The analysis, the acquisition of theoretical tools, the ideas and concepts that have became, all they worked as a basis for composing pieces seeking for poetic autonomy: this feature also helped in the perfecting of the methodology in respect to the work's characteristics, while investigating its sonic level. All this as a resource for building the composition strategy that motivated this research. / Mestrado / Mestre em Música

Maximal evenness was first introduced in the music theory domain by John Clough and Jack Douthett. Later, the concept was explored by others such as Dmitri Tymoczko and Richard Cohn. Although maximal evenness was first explored with respect to pitch-classes, the concept can be understood in the rhythmic domain. An explanation of voice-leading space can be found here to create a conceptual foundation before departing to the implications of maximal evenness on rhythm. This thesis will then explore the concept further by exploring music from Steve Reich and György Ligeti to demonstrate the applicability and deeper understanding of the concept.

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György Ligeti and Gérard Grisey are undoubtedly among the most important composers of the second half of the twentieth century, for they elevated sound and perception to central categories of their compositional work. The play with thresholds of perception and ambiguities is a common ground of their musical thinking. Grisey and other »spectral« composers emphasized psychoacoustic threshold areas in their aesthetic concepts. Similarly, Ligeti’s love of intermediate ranges (Zwischenbereiche) has led to the shimmering complexity of his music. In Ligeti’s Violin Concerto (1990/92), many passages and compositional techniques illuminate how Ligeti works with the ambiguity and complexity of sound and perception. Different types of chordal mixture constitute an important technique found throughout the concerto, among others as spectral mixtures based on just intonation. Examples from the first and the fourth movement demonstrate the flexible handling of mixtures by Ligeti, which can be understood as an extension and permanent modification of the sound of the solo violin. Varying the number of voices, the spectral or harmonic structure, the position of the solo violin within the mixture, register and dynamics creates diverse sonorities. Progressions of mixtures in the fourth movement can be interpreted dramaturgically, while in the fifth movement a superposition of several mixtures and layers results in highly complex structures. The relation between solo violin and orchestra, between »theme« and »accompaniment« in the beginning of the first movement demonstrates how Ligeti reinterprets traditional structures in order to amalgamate soloistic and orchestral layers. The »splitting of the spatial entity of the instrument« here might be compared to techniques in cubist painting. Finally, tuning systems are combined in the second movement according to the principles of ambiguity and heterogeneity; different tunings are confronted while groups of sonorities connect the quasi-folkloristic with the eminently artificial, the serious with the parodistic, etc. Through a permanently modified contextualization of traditional sounds and gestures, the solo instrument in Ligeti’s Violin Concerto seems to acquire a new kind of instrumental identity.

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