View credits, reviews, tracks and shop for the CD release of Continuum / Zehn Stücke Für Bläserquintett / Artikulation / Glissandi / Etüden Für Orgel. GRIDS AND MIST An analysis of Györgi Ligeti’s Continuum for Cembalo () Seth Horvitz ([email protected]) Music / Post-Tonal eory and Analysis.
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A harpsichord has an easy touch; it can be played very fast, almost fast enough to reach the level of continuumbut not quite it takes about eighteen ligetii sounds per second to reach the threshold where you can no longer make out individual notes and the limit set by the mechanism of continuim harpsichord is about fifteen to sixteen notes a second. Help Center Find new research papers in: In fact, it might be said that from this point on, the piece feels as if it is in a continual state of climax quite astonishing, considering that the piece has not even reached its midway point.
György Ligeti – Continuum | RNZ
It is approached without any traditional harmonic preparation, but instead with a type of stuttering, alien counterpoint. Ligeti’s spelling of the notes also suggests this scale. Enter the email address you signed up with and we’ll email you a reset link.
While Section I adds a major second pi2 below a minor third pi3Section II adds a minor third pi3 below a major second pi2. The entire process is a series of sound impulses in rapid succession which create the impression of continuous sound.
Next, the B is added above the top note Bbexpanding the total interval liveti to a tritone.
G belowC middleD middleF below. Many lifeti have noted that the onset of this section corresponds exactly to the golden mean of the piece. However, their treatment is severely limited.
In the MIDI plot, we can see the perfectly symmetrical octaves, split in two by tritones. At rapid rates of repetition, the tonal qualities of closely arranged patterns of notes are substantially masked by this noise. Yet it should be noted that every point of rest in Continuum is also a point of tension. Both sections add continuuum fourth pitch to form the same symmetrical tetrachord . I almost always associate sounds with color, form, and texture; and form, color, and material quality with every acoustic sensation.
Its light touch, as Ligeti notes, allows for extremely rapid repetition, much faster than the continuhm. Ligeti describes them as periods of “mistiness” contrasted with periods of “clearing up.
Ligeti himself has stated the structural importance of the minor third appearing at the opening of the piece. It is nearly symmetrical in shape, opening and closing with a feeling of stability, just as the exposition of a sonata form would begin and end on the tonic. While the previous two sections appear as a steady stream being shaken up and then settling down again, this section proceeds with a clear sense of direction ligfti regard to range.
In my opinion, these interval categories are less useful and even confusingsince in many of the more chaotic sections of the piece, these processes occur simultaneously, overlapping in such a way that they cannot be adequately characterized.
This piece has also been arranged for barrel organ and for two player pianos by the contonuum.
Continuum (Ligeti) – Wikipedia
Music of the Imagination. Here, we see it applied clearly in a symmetrical, repeating form. The composer describes the conception and result of its technique:. Both are composed of a chromatic cluster with symmetrical “satellites” on either side. SECTION I While Ligeti continumu it very clear in his writings that he never uses strict classical forms, the opening section of Continuum can easily be viewed as an exposition, introducing the piece’s central ideas and techniques.
In fact, the delicate, subtle asymmetries are what give Continuum cojtinuum beautiful, rugged shape, somewhere between a tangle of chains and a shattered crystal. Continuum is notable for its paradoxical premise: Amy Bauerp.
György Ligeti – Continuum
A theoretical and perceptual study. Symmetry ligetj present throughout Continuum, but it is rarely perfect. This article about a classical composition is a stub.
In my analysis of the piece, I will refer more often to the MIDI “piano roll” depiction than to the notated score. I will take a more diplomatic approach, classifying the disputed areas generally the static “interval signals” as points of overlap.
It is my view that this type of visualization is particularly revealing for a piece like Continuum, which has so much to do with perception of emerging patterns and symmetrical formations of notes.
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All notes pulse at the same rate, but Ligeti has carefully staggered the changes to gives the feeling of smooth, accelerated motion. In a matter of seconds, the texture has transformed from a static pulse into a blurry mess. Although it would be jarring, the piece could easily end here, but instead, the climactic movement continues to move upward.
With the addition of the C below the main shape, the pattern begins to sound like a rapidly ascending and descending C major scale.