- Page 1: ABSTRACT Title of Dissertation: THE
- Page 5 and 6: ACKNOWLEDGMENTS I would like to ack
- Page 7 and 8: LIST OF TABLES Table 3.1. Artikulat
- Page 9 and 10: Figure 3.16. Spectrograph of Region
- Page 11 and 12: There are many reasons to suspect t
- Page 13 and 14: were influential in the musical thi
- Page 15 and 16: 8 minutes.” Steinitz points to on
- Page 17 and 18: employment as part of the musical d
- Page 19 and 20: with pages of Ligeti’s sketches,
- Page 21 and 22: of Glissandi. Since Stroppa’s fir
- Page 23 and 24: specific piece or to address a spec
- Page 25 and 26: generate spectrographs using the Sp
- Page 27 and 28: 30Robert Morris, Composition with P
- Page 29 and 30: Each of these oppositional pairs de
- Page 31 and 32: composed for four channels of elect
- Page 33 and 34: This method of calculating the stre
- Page 35 and 36: harmonic categories that was common
- Page 37 and 38: etween three-object sets; a move fr
- Page 39 and 40: qualities described by his system o
- Page 41 and 42: Chapter 2: Analysis of Glissandi Li
- Page 43 and 44: sectional, this work is also organi
- Page 45 and 46: frequencies will not be exact, but
- Page 47 and 48: much denser textures, the filtering
- Page 49 and 50: nd Figure 2.2b. Glissandi, Spectrog
- Page 51 and 52: added my section labels and timings
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Figure 2.3. Spectrograph of Section
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course of Event 2 is the effect of
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The duration scheme of Section B is
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Figure 2.6. Quasi-Serial Matrix for
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Figure 2.7. Spectrograph of Section
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Figure 2.8. Spectrograph of Section
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mask this invariance, and perhaps m
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peaking at 1460 Hz. While this peak
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2'38") dramatically reduces the rev
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Some of the invariant gestures whic
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Figure 2.11. Spectrograph of Sectio
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These angular glissandi fade in slo
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material was previously used, have
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etrograde of the louder, denser, an
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that brought the piece to its midpo
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Figure 2.15. Spectrograph of Anomal
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Figure 2.16. Anomaly Area 2, Materi
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Figure 2.17. Spectrograph of Retrog
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Figure 2.18. Anomaly Area 3, Materi
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schematic. Three-quarters of the wa
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the descent of this material, which
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Figure 2.21. Spectrograph of the In
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material, that in itself contains b
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2 whereas before Section F dominate
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traditional pitch systems, such as
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demonstrates a thorough understandi
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6 Karlheinz Stockhausen, Stockhause
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cm/sec. which was standard at the W
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change is unclear-perhaps Ligeti ha
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piece, which he describes as, “a
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A3 7 533.4 532 670 8.79 A4 9 685.8
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19 In fact, the instructions in the
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21 other hand, while balanced in wh
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will be discussed in the last chapt
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Figure 3.1b. Artikulation, 2'34", S
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Using this terminology in place of
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IV. Analysis: Overview: With these
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The following table summarizes the
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Stage II In the transitional second
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Stage III After this point the cohe
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Detailed Analysis of Regions Region
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The expansion into the lower regist
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Table 3.5. Table of Oppositions for
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Figure 3.7. Spectrograph of Region
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Dynamics and Attack Strength/Densit
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Region B, which begins, rather than
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Figure 3.8. Spectrograph of Stage I
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Sonic Material (compact and diffuse
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pronounced attack of the beginning
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Table 3.7. Table of Oppositions for
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Figure 3.10. Spectrograph of Region
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Events 1 and 2, durations These ini
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Figure 3.11. Spectrograph of Region
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Register Apart from the aforementio
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Figure 3.12. Spectrograph of Region
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the average length of previous even
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Conclusions (Stage I) Thus, at the
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Figure 3.13. Spectrograph of Phase
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Table 3.11. Table of Oppositions fo
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and very clear dynamic gestures-cre
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The remainder of Region G is largel
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Figure 3.17. Spectrograph of Region
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Figure 3.18. Spectrograph of Transi
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Figure 3.19. Spectrograph of Region
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Patterning within Region H Globally
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Figure 3.20. Spectrograph of Region
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further subdivide Event 3 into 3 pa
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Dynamic gestures form similarly com
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synthesized by Event J2's final ele
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Stage III into three regions of one
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Figure 3.22. Spectrograph of Region
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direction within this span. The rig
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Region L The sounds of Region L are
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Table 3.15. Table of Oppositions fo
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decrescendo gesture in the right an
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Table 3.16. Table of Oppositions fo
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Coda: This silence prepares the fin
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Table 3.17. Table of Oppositions fo
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introduce noisier, diffuse sounds.
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C’s first event, which remains di
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Chapter 4: Later Works and Concludi
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adherence to duration rows in piece
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equal to 256 thirty-second notes gi
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Table 4.3b. A B C V 585 390 195 585
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demand further reflection. For inst
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Figure 4.1. Duration Scheme for App
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Ligeti’s experiences in the elect
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[sic] can play them, all of them ma
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Hungary, their particular employmen
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One may note the similarity in thes
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Stockhausen also permutes dynamic l
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proceeded from lowest to highest, h
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Figure 4.5b. Spectrograph of Appari
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of “dry [i.e. unreverberated] imp
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diatonic material, crescendo to a p
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spectrograph of a passage from near
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illusory idea, unfeasible. It dawne
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The degree of alignment of the desi
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fact that the arching middle sectio
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compact and diffuse material and sp
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Figure 4.12. Spectrograph of Pièce
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Figure 4.13. Spectrograph of Atmosp
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hand column of the chart below, the
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hythmic design of stasis as well as
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Bibliography Adorno, Theodor W. Ess
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Dubiel, Joseph. Review of Sound Col
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Koblyakov, Lev. Pierre Boulez: A Wo
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Music, Rock, and Jazz Since 1945: E
- Page 269 and 270:
Salllis, Friedemann. An Introductio
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Recordings Institute for Sonology.