A comparison of excerpts by Igor Stravinsky, Alban Berg, Dmitri Shostakovich and Béla Bartók to excerpts by György Ligeti: comparative analysis based on textural parameters.

• Ano de defesa: 2019
• Autor(a) principal: Oliva, Carlos Alberto Bastos [UNESP]
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: eng
• Instituição de defesa: Universidade Estadual Paulista (Unesp)
• Palavras-chave em Português: Music of the 20th century; Texture in music; Static sounding masses; Continuous layered sonorities; György Ligeti; Texturas musicais; Massas sonoras estáticas; Camadas sonoras contínuas; Música do século XX
• Link de acesso: http://hdl.handle.net/11449/183427

This dissertation compares excerpts taken both from György Ligeti’s works and from compositions by his antecessors Igor Stravinsky, Alban Berg, Dmitri Shostakovich and Béla Bartók in order to demonstrate existing sonorous similarities. Textural parameters became more evident as structural elements in music composition of the 20th century. Chapter one discusses the role of texture in the music of the 20th century through a historical overview joined to an explanation of textural characterizations made by author Wallace Berry. Most of György Ligeti’s compositions of the 1960’s present passages regarding textural conditions of static sounding masses and/or continuous layered sonorities. Chapter two selects four of these compositions in order to compare excerpts from Ligeti’s compositions 1) String Quartet Nº 2 to Stravinsky’s Firebird Suite, 2) Chamber Concerto to Berg’s Lyric Suite, 3) Atmosphères to Shostakovich’s Symphony Nº 2 – To October – and 4) Cello Concerto to Bartók’s String Quartet Nº 4. György Ligeti often spoke of having been influenced by composers from the first half of the 20th century while talking about his works in interviews and lectures. The comparative analyses shown in chapter three represent an attempt to demonstrate direct influences György Ligeti received from some of his antecessors.