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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Lieti will make occasional use of the terminology presented by Michael Hicks in his article, in which he groups Ligeti’s “blurring” techniques into the following three categories: Many scholars have noted that the onset of this section corresponds exactly to the golden mean of the piece.
The result was to give an effect of slow motion. Music of the Imagination.
The composer describes the conception and result conttinuum its technique:. I almost always associate sounds with color, form, and texture; and form, color, and material quality with every acoustic sensation. Enter the email address you signed up with and we’ll email you a reset link. It is my view that this type ligei visualization is particularly revealing for a piece like Continuum, which has so much contibuum do with perception of emerging patterns and symmetrical formations of notes.
Continuum is notable for its paradoxical premise: Symmetry is present throughout Continuum, but it is rarely perfect. 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 separate sounds per second to reach the threshold where you can no longer make out individual notes and the limit set by the mechanism of the harpsichord is about fifteen to sixteen notes a second.
From Wikipedia, the free encyclopedia.
Continuum (Ligeti) – Wikipedia
With the addition of the C below the main shape, the pattern begins to sound like a rapidly ascending and descending C major scale. In a matter of seconds, the texture has transformed from a static pulse into a blurry mess. Stable areas can occur in any range, sometimes through gradual transformations and sometimes through jarring leaps.
All notes pulse at the same rate, but Ligeti has carefully staggered the changes to gives the feeling of smooth, accelerated motion. 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.
While I will do the same here, I feel that the last two sections could easily be grouped together. Ligeti describes them as periods of “mistiness” contrasted with periods of “clearing up. Log In Sign Up.
I will take a more diplomatic approach, classifying the disputed areas generally the static “interval signals” as points of overlap. In fact, ligetl delicate, subtle asymmetries are what give Continuum its beautiful, rugged shape, somewhere between a tangle of chains and a shattered crystal. This piece has also continuuk arranged for barrel organ and for two player pianos by the composer.
Here, we see it applied clearly in a symmetrical, repeating form. Skip to main content. SECTION I While Ligeti makes 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.
Views Read Edit View history. And while the opening minor third certainly constitutes an important recurring signal, it is only one of many. This article about a classical composition is a stub. 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 cohtinuum on the tonic.
György Ligeti – Continuum
However, their treatment is severely oigeti. Amy Bauerp. As this shifting occurs, no single pulse takes precedence. Click here to sign up.
Help Center Find new research papers in: In the MIDI plot, we can see the perfectly symmetrical octaves, split in two by tritones. As the string is plucked by the plectrumapart from the tone you also hear quite a loud noise.
Ligeti’s pattern-transformation technique allows him to move freely and smoothly from any given point of stability to another, even when they have no obvious relationship. G belowC middleD middleF below. Perhaps a lesson to be gained from Ligeti’s technique is that intervals and pitch groups can be related to one another in a multitude of perceivable ways without reverting to traditional harmony. Ligeti himself has stated the structural importance of the minor third appearing at the opening of the piece.
Under tonal conditions, the B would act as a leading tone of the C major scale, but in this case, the function is not quite so clear.