Dissertation Index
Author: Cornicello, Anthony M. Title: Timbral Organization in Tristan Murail's "Désintégrations" and "Rituals" Institution: Brandeis University Begun: September 1999 Completed: May 2000 Abstract: In this dissertation, I present a study of the harmonic and timbral structures found in Désintégrations by French composer Tristan Murail. Murail is one of the founders of spectral music, a musical style that emerged in France during the 1970s. In this study, I demonstrate how the harmonic and timbral elements in Désintégrations are fused and have a direct influence on the structure of the work. Chapter 1 begins with an introduction to spectral music. The purpose of this chapter is to provide a clear definition of spectral music, and to investigate the music and technological advances that stimulated the musical style. The works of Debussy, Varèse, Ligeti, and Scelsi are examined for their contributions to spectral music, focusing specifically on their utilization of timbre. An overview of the technological contributions to spectral music is presented in the second half of the chapter. In this portion of the chapter, I explore computer music techniques and show the influence computers have had on spectral music. Chapter 2 is a study of the timbral elements of Désintégrations. Timbre, in the form of the timbre-chord, plays an important role on the foreground, middleground, and background levels of the work. In the first half of Chapter 2, each section of Désintégrations is analyzed for its timbral development. In the remaining section of Chapter 2, it is demonstrated how Murail’s utilization of timbral transformations has shaped the middle and background levels of the work. There is also an investigation of the spectral classification, large-scale fundamental (root) motion, and rhythmic usage in Désintégrations. In the final portion of the paper, it is established that all these elements are used in combination to create the formal articulations of the piece. Keywords: spectral music, murail, french music, 20th-century music, electro-acoustic, 20th-century analysis/theory TOC: ACKNOWLEDGMENTS IV ABSTRACT VI LIST OF ILLUSTRATIONS X CHAPTER 1 1 Part One: Historic Influences on Spectral Music or a Mini-history of timbre 6 Debussy 12 Varèse 16 Ligeti 21 Scelsi 25 Part Two: Technological Influences on Spectral Music 32 Acoustic studies 33 Electronic and Computer Music Techniques 34 Additive Synthesis 35 Filtering, or Subtractive Synthesis 38 Modulation Synthesis 40 IRCAM’S Influence 46 Other influences on spectral music 48 CHAPTER 2 50 A Foreground Analysis of Désintégrations 54 Section I 55 Section II 62 Section III 66 Section IV 73 Section V 78 Section VI 80 Section VII 86 Section VIII 89 Section IX 92 Section X 95 Section XI 98 Summary of the Foreground Analysis 102 Form and Structure 103 Large Scale Relationships in Désintégrations 111 The signification of spectral use 112 Rhythm and duration 116 Large-Scale Pitch Concerns 119 Timbral Organization in Désintégrations 121 Murail’s Importance to Spectral Music 130 Murail’s Musical Direction after Désintégrations 132 APPENDIX I 135 APPENDIX II 136 BIBLIOGRAPHY 138 Contact: Anthony Cornicello 80 Brace Road West Hartford, CT 06107 phone: (860) 313-0602 fax: (860) 313-0616 email: cornicelloa@easternct.edu |