Confluências histórico-técnicas no conceito de micropolifonia (1956-1966)

• Ano de defesa: 2014
• Autor(a) principal: Souza, Allan Christian Domingues [UNESP]
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Estadual Paulista (Unesp)
• Palavras-chave em Português: Ligeti, György, 1923-2006; Musica - Historia e critica; Musica eletronica; Serialismo (Musica); Serialism (Music)
• Link de acesso: http://hdl.handle.net/11449/110651

After his departure from Hungary in 1956, Ligeti remained for about two months in Vienna and then settled in Cologne. In this moment, he was immersed in the avant-garde thought in vogue among the composers of the Darmstadt and Cologne school. While in Cologne, Ligeti deeply immersed in the precepts inherent in both electronic and serial model. After absorpting the precepts derived from the electronic and serial music, Ligeti showed a deep dissatisfaction with both models and set out to write an instrumental writing that would revolutionize musical writing. This study investigates one of the most distinct compositional techniques designed in the 20th century: micropolyphony. This technique is not only responsible for creating a new musical language, but also a revolution in instrumental writing given by the appropriation and application of principles inherent in the electronic model through the instrument interface, which later would be known by technomorphism. Historical-technical confluences on the concept of micropolyphony (1956-1966) aims to identify, outline and explain the influence of the serial model and electronic music on the technique of concepti of micropolyphony, as well as explain the manner in which it gave such a reaction, investigating whether micropolyphony actually consists of a confluence of electronic and serial models and what are the implications of these models on the technique of micropolyphony