This, one of the key texts of the 20th century, a landmark of “total serialism”, is the opening movement, Structure 1A, from Boulez’s Structures for. Introduction Boulez wrote two books of “Structures” for two pianos. Structures I consists of three parts and Structures II of two parts. (We will be discussing. LYNDEN DEYOUNG. In his analysis of Boulez’ Structure Ia,1 Gy6rgy Ligeti makes rele points out that Boulez employed both the pitch set and the duration.

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Anton Webern Click to continue Webern Anton. Loading comments… Trouble loading? He assigned a different mode of attack to each of the following numbers: Music Introduction to Humanities. Reading from left to right gives the original row and its transpositions, and reading from right to left gives the retrograde rows.

How to get your hands on Total Serialism’s ne plus ultra

Reading from left to right gives the inversion rows, and reading from right to left gives the retrograde inversion rows.

Each individual row is heard once, so there are a total of 48 rows sounded.

What causes it, and how do. Structures I consists of three parts and Structures II of two parts. The third row of the matrix thus reads.

Pierre Boulez’s Structures 1a for Two Pianos – ppt video online download

Please Note You can also move forwards and backwards through the slides by using the arrow keys on your keyboard. Published by Frederica Lawson Modified over 3 years ago. Retrieved from ” https: They are then filled into the Inversion Matrix. This article contains affiliate links, which means we may earn a small commission if a reader clicks through and makes a purchase.

Each note has its own presence, its own quality of unpredictable resonance even if that aural result of total randomness is achieved through an almost aggressive pre-compositional control. This also occurs in passages with these symbols: But that epigram written on the manuscript shows that Boulez himself knew that he had found and sounded out a musical ne-plus-ultra in Structure 1A: Boulez devised scales of twelve dynamic levels though in a later revision of the score these reduced to ten— Ligeti40—41twelve durations, and—from the outset—ten modes of attack Ligeti43each to be used in a manner analogous to a twelve-tone row.


A clue to what he found a1 this opening movement of Stuctures is the epigram he added in his trademark tiny script to the syructures bars, as you can see here: I wanted to eradicate from my vocabulary absolutely every trace of the conventional, whether it concerned figures and phrases, or development and form; I then wanted gradually, element after element, to win back the various stages of the compositional process, in such a manner that a perfectly new synthesis might arise, a synthesis that would not be corrupted from the very outset by foreign bodies—stylistic reminiscences in particular.

Pierre Boulez’s Structures 1a for Two Pianos

Feedback Privacy Policy Feedback. Aleatoric music Boulez Conducts Zappa: List of compositions by Pierre Boulez Category: They also determined the order in which the rows were used and formed a plan for note durations.

Each of these sections can be further broken down into smaller sections. Or the piano player could play both the original row and the inversion with the right hand, and the retrograde row and retrograde-inversion with the left. The first row used was ffff, the second series was mf, the third was mf, etc.

Thus, the octave registers used were determined as the piece was being composed. This was Boulez’s first appearance in the UK as a performer Griffiths Boulez a To make this website work, we log user data and share it with processors.


To use this website, you must agree to our Privacy Policyincluding cookie policy. Structures I was the last and most successful of Boulez’s works to use the technique of integral serialism Hopkins and Griffithswherein many parameters of a piece’s construction are governed by serial principles, rather than only pitch. Generally one mode of attack is used per note series, though there are many irregularities.

In staccato passages, frequently the notes will be indicated by either a thirty-second or a sixteenth-note, with the remainder of its duration filled out by rests, as opposed to using the staccato symbol. The first of the second book’s two “chapters” was composed inbut chapter 2 was not written until He inscribed a provisional title on the first page of Book I which he took from a Paul Klee painting: Since Structures 1a is written for two pianos, there are many different possibilities for density the number of rows which are played in one section or subsection.

Order by newest oldest recommendations. The second row of the matrix thus reads The third note of the series was A, so the third row of structues matrix was formed by keeping the interval relationships and starting on A. The Avant-Garde since London: Since neither 4 nor 10 appear in the diagonals of either matrix, he did not assign those numbers a mode of attack. By using this site, you agree to the Terms of Use and Privacy Policy.

Piano II plays note durations of the R12 stuctures. Think of the notes as stars in the night sky, forming a cosmos of chaotic yet symbiotic connection.