Einheit der Figuren

Versuch einer Synthese von der kompositionstechnischen Ansätze von Stockhausen und Sciarrino
1.Introduction

1.1 Abstract

1.2.Purpose of this Text

1.3. Aesthetic considerations, preliminary ideas.

2. Sciarrino and Figure della Musica

2.1. The concept of the musical figure

Gilles Deleuze Francis Bacon

2.2.“Transformazioni Genetiche“

2.3.Analysis of Caprice no.6

2.4.Luce mie Tradittrici

2.3.1.Anamorphose-Prozeß in der Vokalschrift

3.Stockhausen and Einheit der Zeit

3.1.Einheit der Zeit

3.2.Temposkala

3.2.Formelkomposition in Mantra and Inori

3.3.Prozesswerke

3.4.Performative figures in Inori

4.Analysis of figure generating processes in other composers

4.1.Melodic analysis of Quattre Chants no.1 of Grisey

4.2.Grisey´s Vorex Temporum and vectorisation of the figure

4.3.Gestalt principles in Ligeti´s etudes

4.3.Messiaens chronochromie and quatres etudes rhythmique

5.Towards a primitive Formalsprache: Composition with the Timeline of Sets

5.1.Die Funktion der Temposkala

5.2.Über- und untergeordnete Zeitdauerreihen(ÜZ-UZ)

5.3.Zeitdauerreihe as Meta-voice

5.4.ZDR I vs. ZDR 2-6

5.4.1 Disposition of ZDR2-6(Density,Phrase length, other parameters)

5.5.Common Time Unit

5.6.Modifiers

5.7.Symbolische Reihen; (K-Reihe, KP-Reihe, M-Reihe, Reihen aus anderen Bausteine)

5.8.Values

5.9.Points

5.10.Compatibility with contrapuntal thought

5.11.The parallel sketches: Dauerordnung/Tonhöhenordnung/Einsatzordnung/Tonformenordnung

5.12.Rhythmic canon/Rhythmic pedal/Rhythmic transformation

5.13.Regarding the problem of microtonality

5.14.Regarding the problem of Computer Assisted Algorithmic Music

6.Compositional process in five preliminary works and the Uhrenstellmusik Werke

6.1.Five preliminary works

6.1.1.Neume for flute and violin

6.1.1.1.Line instead of row

6.1.1.2.Solare

6.1.1.3.Fragmentierung

6.1.1.4. Representation with Timeline of Sets

6.1.2.Üc anayasa for 4 voices and oud

6.1.2.Beat Furrers Voicelessness as model

6.1.2.Three Texts

Das Ende mündet in den Anfang

6.1.2. Representation with Timeline of Sets

6.1.3.Temposkalen in Allarga for 3 instruments

6.1.3. Tempo regions as coloristic device

6.1.3. Transformations of Clarinet figure

6.1.3 Representation with Timeline of Sets

6.1.4.Space in Meydane, for solo oboe

6.1.4. Division of the space

6.1.4.

6.1.4.

6.1.4.

6.1.5.Space in Possession, for dancer, two flutes and multimedia

6.1.5.

6.1.5.

6.1.5.

6.2. U.S.M. I for 14 instruments

6.1.1. A polyphony of six meta-voices

6.1.2.Kollisions between sets

6.1.3.Graphic Notation of rhythms

6.1.4.Übergang vom Ensemble zum Becken

6.3. U.S.M. II for solo voice

6.2.1.The voice of Sergey Esenin

6.2.2.The wardens kalatuschka

6.2.1.The function of the chromatic rhythm [2/3/4/5] in S.A.M. II

6.2.2. Neumatic synthesis

6.2.3.Text

6.4. U.S.M. III for 4 instruments

6.3.1.The Ringformel

6.3.1.Rhythms

6.3.2.Some lessons taken from Bachs Goldberg Variations

6.3.3.Regarding the problem of Computer Assisted Algorithmic Composition and the humorism of Broken Machine Aesthetics

6.3.2.Pattern and Processings

6.3.3.Repetition

6.5. U.S.M. IV for solo oboe and electronics

6.5.1.The purpose of rewriting of Meydane for solo oboe

6.5.2.Algorithmic Procedures

6.6.Uhrenstelltheater for 6 Voices and 13 Instruments

6.6.1.Some lessons taken from Berg´s Wozzeck and Sciarrino´s Lue mie traditrici

6.6.2.The Problem of setting a prose text in turkish

6.6.1.The voice of Hayri irdal

6.6.2.The voice of Halit Ayarci

6.6.3.The voice of Hayri´s Sister-in-law

6.6.4.The dramatic function of the choir

6.6.5.The voice of the Sheikh

6.6.6.The Giggle-Figur

6.6.7.Corpus based composition/The neo-romantic harmonisation of an ottoman folk song as formel

6.6.8.Humorism of the broken machine aesthetics

6.6.9.The Voice of the fabricated Sheikh

6.6.10 Regarding the problem of the wagnerian Structured Opera

7.Conclusions

Progressive/Regressive aspects of this specific line of composition

Kompositionstechnik- Gesellschaftlichen Standpunkt

Aesthetic considerations

8.Bibliography and sources

Theodor Adorno - Philosophie der neuen Musik

Helmut Lachenmann - Musik als Existenzielle Erfahrung

Salvatore Sciarrino - Figure della musica

Christian Utz - Die Inszenierung von Stille am Rande ohrenbetäubenden Lärms

Christian Utz - Entwürde zu einer Theorie musikalischer Syntax

Christian Utz - Klangorganisation zur Systematik und analyse einer Morphologie und Syntax post-tonaler Kunstmusik

Christian Utz - Komponierte, interpretierte und wahrgenommene Zeit

Carola Gay - lo specchio dello specchio

Carlo Carratelli - L´integrazione dell´estesico nel poietico nella poetica musicale post-strutturalista. Il caso di Salvatore Sciarrino, una
composizione dell´ascolto

Hugues Dufourt - Die Konstitutive Zeit in Grisey

Stockhausen - Texte, Band 1

- Grundlagen

Hermann Conen - Formelkomposition

Pietro Cavallotti - Differenzen

Daniele Ghisi - Towards a Corpus based composition

Michael A. Harrison - Introduction to formal language theory

Richard Wagner.- Oper und Drama

Gerhard Nierhaus - Algoritmische Komposiiton im Kontext Neuer Musik

Gerhard Nierhaus.- Algoritmich Composition

Desiree Mayer - Das Ostinati als Kompositionstechnik in der Symphonik des 19.Jahrhunderts

Estelle Roux - Emancipating Dissonance and Leitmotif: Alban Berg´s Wozzeck

Unbekannt - Voice-leading as Drama in Wozzeck

Oxford Companion to Agorithmic Music