| The dissertation is in two parts, a theoretical study and a musical composition. In Part I the music of Gyorgy Kurtag is analyzed from the point of view of sound color. A brief description of what is understood by the term sound color, and various ways of achieving specific coloristic effects, are presented in the Introduction. An examination of Kurtag's approaches to the domain of sound color occupies the chapters that follow. The musical examples that are analyzed are selected from Kurtag's different compositional periods, showing a certain consistency in sound color techniques, the most important of which are already present in the String Quartet, Op. 1. The compositions selected for analysis are written for different ensembles, but regardless of the instrumentation, certain principles of the formation and organization of sound color remain the same.;Rather than relying on extended instrumental techniques, Kurtag creates a large variety of sound colors using traditional means such as pitch material, register, density, rhythm, timbral combinations, dynamics, texture, spatial displacement of the instruments, and the overall musical context. Each sound color unit in Kurtag's music is a separate entity, conceived as a complete microcosm. Sound color units can either be juxtaposed as contrasting elements, forming sound color variations, or superimposed, often resulting in a Klangfarbenmelodie effect. Some of the same gestural figures (objets trouves) appear in different compositions, but with significant coloristic modifications. Thus, the principle of sound color variations is not only a strong organizational tool, but also a characteristic stylistic feature of the music of Gyorgy Kurtag.;Part II, Leopard's Path (2010), for flute, clarinet, violin, cello, cimbalom, and piano, is an original composition inspired by the painting of Jesse Allen, a San Francisco based artist. The composition is conceived as a cycle of thirteen short movements. Ten of these movements are the musical interpretation of the objects presented in the painting, and are stylistically similar. These movements are scored for the entire ensemble. The other three movements, entitled Interludes, provide a stylistic contrast, and are not directly connected with the painting. |
