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This treatise investigates the harmonic and contrapuntal features of Études pour piano, premier livre (1985) by Hungarian composer György Ligeti. All six etudes undergo chordal and intervallic analysis, revealing Ligeti's preference for tertian consonance and patterns of traditionally tonal vertical structures placed within a tonally non-functional syntax. In each etude dissonance is shown to be clearly regulated, used to convey various facets of musical expression like tension, humor, emphasis, or disarray. This treatise also briefly examines Ligeti's varied approaches to layering melodies in each etude, with an emphasis on the musical role of each voice. In addition, the ramifications for performance are addressed, along with suggestions for overcoming technical and interpretative difficulties. A thorough understanding of harmonic and contrapuntal function is shown to influence interpretative decisions in subtle yet significant ways.
Counterpoint, Etudes, Harmony, Ligeti, Performance, Piano
Date of Defense
April 19, 2014.
A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music.
Includes bibliographical references.
Read Gainsford, Professor Directing Treatise; Evan Allan Jones, University Representative; David Kalhous, Committee Member; Heidi Williams, Committee Member.
Florida State University
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