Music 680, Fall 2005: Special Topics in Music Theory - Algorithmic Composition
Lecture 14: December 12, 2005 - making connections: Ligeti, Boulez, Holliger	

Nancarrow's canons as an important influence on Ligeti's Piano Etudes
	but also Mandelbrot/fractals, Escher, Arom/African Polyphony and Polyrhythm, Shepard tones, etc.
	not to mention Debussy and Ligeti's earlier essays in constructivism...

Holliger and canon in the Scardanelli-Zyklus
	a highly rationalized form used to irrational ends
		(as a reflection of Hšlderlin's "Scardanelli" persona)
	Sommer III: three statements of a seven-voice prolation canon
		(where the tempi are defined by the singer's individual heart rates)
			staccato / semitones
			non staccato / quarter-tones
			tenuto / eighth-tones
	- Sommer I: similar prolation technique (six to eight voices)
		pitches eliminated gradually, leaving only silent lip motions
	- Sommer II: similar pitch compression (triple canon repeated as quarter- and then eighth-tones)
	Winter I: "tonal negative" of Komm, o Tod, du Schlafes Bruder
		notes of the original piece become rests (filled in by spoken recitations of the Scardanelli text)
	- Winter III: four-voice canon built on overtones of a "C" harmonic series
		each canonic part consists of close-position triads
		(= a deliberately perverse clash between the spectral and the tonal)
	Frühling I: root-position triads with unusual vocal techniques
		singing with near-empty lungs
		inhaled singing
		declamation through closed mouths
		singing with a "tight throat"

late Boulez and "organized delirium"
	the Sacher chord: Es-A-C-H-E-Re (E-flat, A, C, B, E, D) as a presence in Repons etc.
	and its hexachordal permutations