The analysis component of this dissertation focuses on intricate and complex pitch relationships in György Ligetis last work, the Hamburg Concerto. This piece uses two distinct tuning systemstwelve tone equal temperament and just intonationthroughout its seven movements. Often, these two systems are used simultaneously, creating complex harmonic relationships. This combination allows Ligeti to exploit the unique features of each system and explore their relationships to each other.
Ligetis just intonation in the Hamburg Concerto comes mainly from the five French horns, who are instructed to keep their hands out of the bell to allow the instrument to sound its exact harmonics. The horns themselves, however, are tuned to varying different fundamentals, creating a constantly changing series of just-intoned pitches anchored above an equal-tempered bass. This method of generating just-intoned intervals adds a second layer to the relationship between equal temperament and just intonation.
This paper focuses on creating ways to understand this relationship, and describing the ramifications of these tunings as they unfold throughout the piece. Ligeti very carefully crafts this work in a way that creates a balance between the systems.
Research done at the Paul Sacher Stiftung has uncovered a significant collection of errors in the published score. Clearing up these discrepancies allows for a much more accurate and more informed analysis. Throughout this dissertation, mistakes are corrected, and several aspects of the score are clarified. The tuning systems are described, and a likely tuning scheme for the horns is posited. (The analytical component of the dissertation delves into the many varying intervals which all fit into one interval classa feature that is best explored when two distinct tuning systems are juxtaposed.) A language is created herein to better understand these pitch relationships that fit neither into equal temperament nor just intonation. The analysis clearly shows that very simple musical intervals turn out to be cornerstones of this piece, traceable throughout the entire Hamburg Concerto.
The composition, Syzygy for string quartet, is written in just intonation. Through four movements, the relationships evoked by the titles (always groups of homonyms) are examined and illuminated.
| Identifer | oai:union.ndltd.org:PITT/oai:PITTETD:etd-02172011-173654 |
| Date | 06 June 2011 |
| Creators | Corey, Charles Robert |
| Contributors | Mathew Rosenblum |
| Publisher | University of Pittsburgh |
| Source Sets | University of Pittsburgh |
| Language | English |
| Detected Language | English |
| Type | text |
| Format | application/pdf |
| Source | http://etd.library.pitt.edu/ETD/available/etd-02172011-173654/ |
| Rights | unrestricted, I hereby certify that, if appropriate, I have obtained and attached hereto a written permission statement from the owner(s) of each third party copyrighted matter to be included in my thesis, dissertation, or project report, allowing distribution as specified below. I certify that the version I submitted is the same as that approved by my advisory committee. I hereby grant to University of Pittsburgh or its agents the non-exclusive license to archive and make accessible, under the conditions specified below, my thesis, dissertation, or project report in whole or in part in all forms of media, now or hereafter known. I retain all other ownership rights to the copyright of the thesis, dissertation or project report. I also retain the right to use in future works (such as articles or books) all or part of this thesis, dissertation, or project report. |
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