In this paper I will discuss how timbre can affect musical structure and make a comparative analysis of Ligeti's Atmosphères and my piece Foggy Sounds. Through my analysis of Atmosphères I have come to the conclusion that the timbre and timbral changes that are achieved through various clusters are used as a primary form-shaping factor in the piece. Among the clusters that are the most utilized are: a large wide range static cluster, an attenuated cluster, a wave-like cluster, a swell and ebbs cluster, a small dynamic cluster, a fluid cluster, a contracting cluster and a soft vibrating cluster. These are described and discussed in detail in the following paper. A formal arch that opens and closes the piece is built on a cluster of “sonic presence.” This cluster sets the background for the timbral changes that happen within the piece.
A central purpose behind my piece Foggy Sounds was to create a form based on timbral change and timbral development while using a smaller number of instruments. My work is scored for seventeen instruments compared to eighty-eight instruments in Ligeti's Atmosphères . I have created my piece with the same amount of sections and corresponding rehearsal letters as in Ligeti's Atmosphères. However the details of these sections differ in my piece. As in the Ligeti work, micropolyphony is a major factor in creating melodic movement within the clusters thus contributing to the overall trajectory of the piece. Micropolyphony also provides a cluster of sonic presence, on top of which all the timbral changes happen in both pieces. Timbre and structural motions are unified in both Atmosphères and Foggy Sounds.
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|School:||California State University, Long Beach|
|School Location:||United States -- California|
|Source:||MAI 50/04M, Masters Abstracts International|
|Subjects:||Music, Music education|
|Keywords:||Austria, Ligeti, Gyorgy|
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