| |
| | [No title] |
 | | Polyrhythm and Micropolyphony in Ligeti's Music [4.1] Although complex polyrhythms have appeared in Ligeti's music ever since he came to the West--nearly every score abounds in simultaneous layers of triplets, sixteenth notes, quintuplets, and so on--the difference between the earlier pieces and the etudes lies in a different concept of pulse. |
 | | Since the melody is accented in fives, while the ostinato is arpeggiated in fours, a five-against-four polyrhythm results. |
 | | The aural result, though, is not a polyrhythm, but rather two separate entities juxtaposed: a background ostinato and a foreground, falling lament which sounds subtly "off," not unlike a rubato performance of a Chopin nocturne. |
| www.societymusictheory.org:16080 /mto/issues/mto.97.3.3/mto.97.3.3.taylor.art (4737 words) |
|