Premise and compositional working-out : an examination through analysis of Ligeti's changing style

Abstract

In many of his interviews and writings from the mid-eighties, Ligeti talks of a crisis in his compositional output, and his move to a simpler style. This thesis takes the form of three detailed analyses of works which span this change in style. My analytical method builds on Epstein's concept of 'premise', together with Ligeti's description of the two principal areas in his compositional approach: raw musical idea and compositional working out. The three works examined using these ideas are: Chapter 1, Double Concerto for Flute, Oboe and Orchestra (second movement), Chapter 2, Trio for Violin, Horn and Piano (first movement), and Chapter 3, Etudes for Piano, Book 1, no.6 Automne a Varsovie. Through an exploration of the defining relationships between musical elements at the start of each movement, it is possible to trace the accrual of process from local to global levels, as a large-scale framework evolves.