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Performing Rhythmic Dissonance in Ligeti's City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2019 Performing Rhythmic Dissonance in Ligeti’s Études, Book 1: A Perception-Driven Approach and Re-notation Imri Talgam The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3492 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] PERFORMING RHYTHMIC DISSONNACE IN LIGETI’S ÉTUDES, BOOK I: A PERCEPTION-DRIVEN APPROACH AND RE- NOTATION by IMRI TALGAM A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York. 2019 ©2019 Imri Talgam All Rights Reserved ii PERFORMING RHYTHMIC DISSONNACE IN LIGETI’S ÉTUDES, BOOK I: A PERCEPTION-DRIVEN APPROACH AND RE-NOTATION by Imri Talgam This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy The City University of New York iii Abstract Performing Rhythmic Dissonance in Ligeti’s Études, Book 1: A Perception-Driven Approach and Renotation Imri Talgam Interpretive approaches to the Études have been limited by Ligeti’s choice of notation, which creates several layers of difficulty in the presentation of compleX rhythms. In order to resolve some of these difficulties, this dissertation includes a complete re-notation of four Etudes, using a methodology based on research in cognition and perception of rhythm. Based on this new score, the notion of rhythmic dissonance is developed as an analytical tool to investigate in-time perception of rhythmic compleXity, drawing on eXisting work on metric entrainment and metric dissonance. Different compositional strategies for the production of rhythmic dissonance are shown to have a decisive formal function on both the micro- and macro-levels. The relation between perception of rhythmic patterns and the influence of other musical parameters is eXplored, using concepts from information theory, and auditory scene analysis. Using this conceptual framework, I argue for the need to open a new space for interpretation based on analysis of rhythmic perception and re-notation of the score. This is demonstrated using detailed analyses of Automne à Varsovie and Fanfares, with discussion of various alternative re-notations and their influence on performance. iv Finally, I suggest a model for maXimizing listeners’ eXperience of rhythmic dissonance by performers. Using knowledge of the most perceptually salient polymetric layers, performers can modulate the relative prominence of each layer in order to create a maXimally differentiated musical teXture. This model can be eXtended to other Ligeti Etudes and related repertoire, as well as other types of notated, rhythmically compleX music. v Acknowledgments I would like to thank people who have been helpful in the process of writing this dissertation. First, my advisor Joe Straus, who has guided me through this process from the start and helped me structure the work, while constantly stimulating my thoughts on the issues involved. His immense eXperience has helped break down compleX issues into manageable units. Jeff Nichols and Philip Lambert have read my work closely and provided valuable insights that have resulted in clearer presentation. Norman Carey has been greatly supportive throughout my time at the Graduate Center and has helped me eXplore the relation between rhythmic compleXity and information theory. Ursula Oppens provided crucial encouragement. My friendship with Daniel FoX, and his close readings of work in progress, have been enormously helpful. My parents have inspired me beyond what I can articulate. Amy Norovich has been a source of loving support throughout the process. Lastly, my cats, Paul and Lucy, helped pass many hours of transcription with a warm lap. vi Contents List of Figures. xi Introduction. .1 1 The Need for Renotation. .5 Introduction. .5 Difficulties in Ligeti’s Notation. .6 Reasons for Ligeti’s Notation. 8 Rhythmic Dissonance and Polyphony. .13 Entrainment and Meter. 15 Can Musicians Track Two Beats Simultaneously?. 18 Hierarchy, Tactus Choice, and Listening Strategies. .22 Summary. 25 2 Renotation Principles. .27 Introduction. 27 General Preference Rules. .27 Notation Preference Rules. .29 1. Metric Regularity Rule. 29 2. Motoric Attention Rule. .30 3. Metric Anticipation Rule. 32 4. Metric Economy Rule. 37 vii Concluding Remarks. 39 3 Analysis and Performance of Rhythmic Dissonance. 40 Introduction. 40 Aesthetics of Rhythmic CompleXity. .42 Rhythmic CompleXity or Rhythmic Dissonance? . .45 Rhythmic Dissonance. 47 Limits to Perception of CompleXity. 48 Rhythmic Dissonance, Information Theory, and Form. .51 Influence of Other Parameters: CompleXity and Reductionism. 58 Meter and Grouping Cues. 62 Listening Strategies and Invariance. .63 Rhythmic Techniques of the Etudes. .69 Metric EXpositions. 72 Desynchronization of Grouping Cues: An EXample. 76 Performance and Grouping Cues. 82 4 Fanfares. .84 Rhythmic Difficulties and Notation. 84 Rhythmic Dissonance and Form in Fanfares. 93 Grouping Conflict. 105 Isochronous Competing-Pulse Dissonance. .108 Two Dissonant Listenings. .112 viii Competing Non-Isochronous Metric Dissonance. .113 Displacement Dissonance. .116 Large-Scale Rhythmic Dissonance and Form. 119 Conclusions and Questions for Further Research. 122 5 Automne à Varsovie. .124 Introduction. .124 Materials and Rhythmic Techniques. .126 Hemiola, Polyrhythm, and Polytempo. 130 Talea and Local Rhythmic Dissonance. .133 Form and Rhythmic Processes. 137 Streaming/Fusion and Metric Perception. .140 Polymetric Modes and Performance. .145 Radical, Conservative, Progressive? . .150 Additional Renotation Rules. 153 Tactus Selection Rule. 154 Polyrhythm Cycle Rule. .156 Performance Strategy and Hierarchy of Preference Rules. 157 An Interpretive Puzzle. 158 Performance Strategy. ..
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