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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Even abstract concepts, such coninuum quantities, relationships, connections, and processes, seem tangible to me and have their place in an imaginary space. 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.

It is approached without any traditional harmonic preparation, but instead with a type of stuttering, alien counterpoint. Retrieved 18 October Symmetry is present throughout Continuum, but it is rarely cpntinuum.

György Ligeti – Continuum | RNZ

Stable areas can occur in any range, sometimes through gradual transformations and sometimes through jarring leaps.

From Wikipedia, the free encyclopedia. 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. Click here to sign up. I will take a more diplomatic approach, classifying the disputed areas cintinuum the static “interval signals” as points of overlap.

Both sections liveti a fourth pitch to form the same symmetrical tetrachord [0][2][3][5]. Help Center Find new research papers in: Next, the B is added above the top note Bbexpanding the total interval range to a tritone. Log In Sign Up.

Here, we see it applied clearly in a symmetrical, repeating form. This piece has also been arranged for barrel organ and for two player pianos by the composer. Music of the Imagination. At precisely a minor third pi3 above and below this shape, the high B and low C pulse at identical rates every eight 8th notes. Retrieved from ” https: First, an Ab is added m.


Under tonal conditions, the B would act as a leading tone continuuum the C major scale, but in this case, the function is not quite so clear.

In the center is a repeating diamond shape spanning the chromatic range of a P4 from E Dx in the score to A. The composer describes the conception and result of its technique:. Enter the email address you signed up with and we’ll email you a reset link.

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. Yet it should be noted that every point of rest in Continuum is also a point of tension. 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 with regard to range.

Section II presents a similar process of blurring the contiunum signal, then forming them into expanded symmetrical units, but pigeti the range is expanded, and the notes are presented in near-diatonic fashion. By using this site, you agree to the Terms of Use and Privacy Policy. In my analysis of the piece, I will refer more often to the MIDI “piano roll” depiction than to the notated score.

The result was to give an effect of slow motion. Although it would be jarring, the piece could easily end here, but instead, the climactic movement continues to move upward.

György Ligeti – Continuum

While Section I adds a major second pi2 below a minor third pi3Section II adds a minor third pi3 below a major second pi2. In their paper, Cambouropoulos and Tsougras use small excerpts of the piano roll to illustrate certain discrepancies between what is notated and what might be perceived. I almost always associate sounds with color, form, and texture; and form, color, and material quality with every acoustic sensation. A theoretical and perceptual study.


Skip to main content. Both are composed of a chromatic cluster with symmetrical “satellites” on either side. The composer describes the conception and result of its technique: This page was last edited on 27 Juneat However, the appearance of the major triad here manages to sound both entirely consonant and mysterious at the same time. Ligeti’s spelling of the notes also suggests this scale.

In the MIDI plot, we can see the perfectly symmetrical octaves, split in two by tritones.

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.

As this shifting occurs, no single pulse takes ligefi.

Continuum (Ligeti) – Wikipedia

In less than a minute, we have returned to a familiar place, yet we have forgotten exactly where we began. In a matter of seconds, the texture has transformed from a static pulse into a blurry mess. All notes pulse at the same rate, but Ligeti has carefully staggered the changes to gives the feeling of smooth, accelerated motion. Amy Bauerp.