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2) The Late Fifties: Welcome to the Avant-Garde
Discussion of the readings and analysis. Early life in the West, and exposure to electronic music, Stockhausen, Eimert, etc. Discussion of Glissandi, Artikulation, Volumina, the first two orchestral works. Ligeti’s early lectures at Darmstadt.
For week 3
Required Reading
Eric Drott, "Ligeti in Fluxus," Journal of Musicology 21:2 (2004), 201–40.
Alastair Williams, Chapter 4, Modernism Inside Out, New Music and the Claims of Modernity (Aldershot: Ashgate 1997).
Rainer Wehinger, Excerpts from Ligeti: Artikulation, an aural score by Rainer Wehinger (Mainz: Schott, 1970) (full score in library)
Paul Griffiths, Mobile Form 1956-61 and Reappraisal and Disintegration: 1959-1964, Modern Music and After (Oxford: Oxford University Press, 2010).
György Ligeti, "Some Remarks on Boulez’ 3rd Piano Sonata," Die Reihe 5 (Bryn Mawr: Theodore Presser Co., 1959), 56–8., and "States, events, transformations," trans. Jonathan W. Bernard, Perspectives of New Music, 31/1 (1993), 164–71.
Listen
Radio 2: Welcome to the Avant-Garde
Form in Atmosphéres
Questions here. Due April 23
Further Reading
Sean Rourke, "Ligeti’s Early Years in the West," The Musical Times 130/1759 (1989), 532-35.
György Ligeti, "Pierre Boulez. Decision and Automaticism in Structure 1," in A Die Reihe: Young Composers 4 (Bryn Mawr: Theodore Presser Co., 1958), 33–64.
Amy Bauer, Moths, Machines and the Melancholy of Time Passed (Chapter 2), Ligeti’s Laments: Nostalgia, Exoticism and the Absolute (Aldershot, UK: Ashgate), 2011.
Edward T. Cone, "One Hundred Metronomes," Journal of Aesthetic Education, 13:1 (1979), 53–68.
Iverson, Jennifer, "The Emergence of Timbre: Ligeti’s Synthesis of Electronic and Acoustic Music in Atmosphères," twentieth-century music 7/1 (2011), 61–89.
Alastair Williams, Chapter 3, Construction and Indeterminacy, New Music and the Claims of Modernity (Aldershot: Ashgate 1997).
Anhalt, Istvan "Ligeti's Nouvelles Aventures: A small group as a model for composition," in Alternative voices: Essays on contemporary vocal and choral composition (Toronto: University of Toronto Press, 1984), 41–92.
Roberto Doati,“György Ligeti’s Glissandi: An Analysis,” Interface 20 (1991), 79-87.
Francesco Giomi and Marco Ligabue,”Understanding electroacoustic music: analysis of narrative strategies in six early compositions,” Organised Sound 3/1 (1998), 45-49.
Work List
Glissandi for tape (1957)
Piéce électronique no. 3 for tape (1958)
Pierre Boulez, Structure 1A for piano
Artikulation for tape (1958)
Volumina for organ (1961)
Apparitions for orchestra (1958-59) LL
Atmosphéres for large orchestra without percussion (1961) LL