Dissertation Index
Author: Gonzales-Lizausaba, Oswaldo Title: A Formalized Analysis of Luciano Berio's Erdenklavier for Piano Solo: An Undulatory Approach Institution: Ecole des Hautes Etudes en Sciences Sociales, IRCAM, CNRS (Paris) Begun: November 1996 Completed: June 1997 Abstract: This DEA (Master) dissertation is an analysis of Berio's Erdenklavier for Piano solo (1969) with a new analytic system called: Undulatory Analysis invented by Oswaldo Gonzalez-Lizausaba. One of the fundamental postulates of the Undulatory Analysis (UA) is that any work of music (acoustic or electronic) is the result of a large undulatory process, that is, a metaphor or projection in a very wide range of the sound as it exists in the nature: a Soundwave. In consequence, each musical work has its Natural Undulatory Segmentation. This Natural Undulatory Segmentation conforms the Global Undulatory Movement of the piece that represents in itself its Undulatory model called: The Formal Undulation. Another main postulate of the UA, is that any musical work is the result or projection of a unique sound called the Fundamental Wave of the piece. This Fundamental Wave is conformed by the sum of all sounds (frequencies) used in the piece, and it is the composer who positions each of this sounds at different places of the work temporal-space as a result of his or her compositional gestures (different procedures, algorithms, etc.). The UA also reconsiders the notion of musical repetition which is reformulated as a part of the undulatory process of any musical work. Any linguistic notion of repetition is inoperative for this new analytic system. For the UA, the repetition is undulatory (acoustic) and not linguistic. This notion of repetition is supported with concepts and ideas of French philosopher Gilles Deleuze. A full analysis of Erdenklavier is realised and two models of the piece are presented which can prove the validity of this new analytical system. This models are: The Algorithmic Model, which simulate the entire process of the composition of the piece and the second model, divided in two parts: the Formal Undulation and the Fundamental Wave of Erdenklavier. Keywords: undulation, form, Berio, Erdenklavier TOC: Acknowledgements Table of Contents Introduction I General Presentation of the piece I.1. The Choice of the piece I.2. The Fundamental Conception of the work I.3. The Generating Idea of the work I.4. "Difference and Repetition" in Erdenklavier II A Formalized Undulatory Analysis of Erdenklavier II.1. General Description of the work II.2. The Pitch Organisation II.2.1. The Intervals II.3. The Series in Erdenklavier II.3.1. The Serial treatment II.3.2. The Paradigmatic Series II.3.3. The Organisation of Paradigmatic Series II.4. The Temporal Organisation II.4.1. The Duration Series II.4.2. The Grouping of Duration in Cells-series II.5. The Undulatory Segmentation II.5.1. The Total Undulatory Extension of the Work II.5.2. The Undulatory Segments II.5.3. The Numbering of the Undulatory Segments II.5.4. Analysis of the Undulatory Segments II.5.4.1. The Undulatory Segments Series II.5.5. The Paradigmatic Undulatory Movements II.5.6. Analysis of the Global Undulatory Analytic Movement II.5.6.1. The Period of the Global Undulatory Analytic Movement II.6. The Dynamic Structure of Erdenklavier II.7. The Sustained Notes in Erdenklavier II.8. The Damper Pedal II.9. The Models of Erdenklavier II.9.1. The Algorithmic Model of Erdenklavier II.9.2. The Formal Undulatory Model of Erdenklavier II.9.2.1. The Formal Undulation of Erdenklavier II.9.2.2. The Fundamental Wave of Erdenklavier III Conclusion IV Annexes (includes a floppy disk with some sound examples) V Index of Terms VI Bibliography Contact: Oswaldo Gonzalez-Lizausaba 33, rue de l'Ermitage 95320 Saint Leu La Foret France tel. (01) 30 40 71 89 - Fax (01) 34 18 08 11 e-mail: ciimc@club-internet.fr |