Download Gubaidulina Handout PDF

TitleGubaidulina Handout
TagsClassical Music Leisure Entertainment (General) Mathematics
File Size3.5 MB
Total Pages10
Document Text Contents
Page 1

Supplemental 1

Prepared 27 April 2005

Paul Coleman

1. AN INTRODUCTION TO THE MUSIC OF
SOFIA GUBAIDULINA



Fig. 1.1. Gubaidulina, Chaconne for piano (1962), theme, mm. 1-8.




Fig. 1.2. Theme from Bach’s Musical Offering, with Gubaidulina’s orchestration for the
opening of Offertorium.1


1 Sofia Gubaidulina, Offertorium (Deutsche Grammohon 427 336-2), 4.

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2. DYNAMIC PROPORTION IN THE MUSIC OF
SOFIA GUBAIDULINA

Early Experiments in Dynamic Proport ion


Fig. 2.1. Gubaidulina’s formal sketch of the twelfth movement of Perception.2


(a) Gubaidulina’s Sketch.3


(b) Categorized, showing horizontal and vertical consonant–dissonant relationships.

Fig. 2.2. Additive-automorphological number sequences.


2 Vera Lukomsky, “Hearing the Subconscious: Interview with Sofia Gubaidulina,” Tempo 209 (July 1999), 29.
3 Ibid., 28.

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Fig. 2.3. Gubaidulina’s formal sketch of conflicting formal proportions 1:2 and 1:7.4




Fibonacci series: 1 2 3 5 8 13 21 34 55 89 144 … ∞

Lucas series: +1 3 4 7 11 18 29 47 76 123 199 … ∞

Evangelists’ series: 2 5 7 12 19 31 50 81 131 212 343 … ∞

Fig. 2.4. The Evangelists’ series as result of summation of the Fibonacci and Lucas series.






Fig. 2.5. Bach’s Series, showing mirrored symmetry within digits.5





Fig. 2.6. Bach, Vor deinen Thron tret ich hiermit, Gubaidulina’s sketch of formal proportions.6




4 Ibid., 28.
5 Lukomsky, “Sofia Gubaidulina: ‘My Desire is always to Rebel, to Swim against the Stream’!” Perspectives of

New Music 36/1 (winter 1998), 18.
6 Ibid.

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Light , Color , and Alleluja (1990)

(most intense) (least intense)


Yellow
[7:1]

Orange
[6:2]

Red
[5:3]

Green
[4:4]

Lt. Blue
[3:5]

Blue
[2:6]

Violet
[1:7]

Fig. 2.7a. Colors with light reflection-absorption ratios, arranged by descending intensity.7



Fig. 2.7b. Color schemes with ray absorption ratios and resulting linear proportions.


7 Data from Lukomsky, “Sofia Gubaidulina: ‘My Desire…’,” 29.

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Stimmen…Verstummen… (1986)

I

Eternal

II

Earthly

III

Eternal

IV

Earthly

V

Eternal



VI

Earthly

VII

Eternal

VIII

Earthly Apocalypse



IX
“Zero”–Cadenza for

conductor

X

Eternal

XI

Earthly

XII

Eternal



Fig. 2.8. Stimmen…Verstummen…, Distribution of movements.8


I

1:38

II
2:06

III
0:56

IV
2:01

V
0:39

VI
4:25

VII
0:30

VIII
11:07

IX
0:56

X
1:39

XI
1:53

XII
6:11


Fig. 2.9. Stimmen…Verstummen…, Lengths of movements from recorded performance.9





Fig. 2.10. Stimmen…Verstummen…, first movement, tonal/register scheme.




8 Based on Vera Lukomsky’s table, “Hearing the Subconscious…,” 31, ex. 5.
9 Sofia Gubaidulina, Stimmen…Verstummen…, Stufen (Chandos 9183).

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Fig. 2.11. Stimmen…Verstummen…, movement IX, cadenza for conductor.

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Fig. 2.11. (cont.)

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Fig. 2.11. (cont.)

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Fig. 2.12a. Stimmen…Verstummen…, graphed using pulse-duration lengths.10





Fig. 2.12b. Stimmen…Verstummen…, graphed using recorded performance lengths.11


10 Lower markings on graphs based on those found in Clive Pascoe, Golden Proportion in Musical Design,

Ed.D. Diessertaition (University of Cincinnati, 1973).
11 Gubaidulina, Stimmen…Verstummen…, Stufen (Chandos 9183).

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