Ask Roberto - Beyond Theory

[Blackorchidx]

Another thing for you,

Could you talk a bit on the mensuration canon please?

[Roberto]

This is good enough...

http://en.wikipedia.org/wiki/Prolation_canon

Another thing for you,

Could you talk a bit on the mensuration canon please?

[Charlie Shaughnessy]

Lux Aeterna... Such an awesome piece of music. So effective.

[Charlie Shaughnessy]

ROB - not a harmony question, but what font do you use for your scores again?

[Roberto]

I'm not sure... I just load the normal font!

I do have a font for text, titles, etc... that is BANK GOTHIC LITE.

ROB - not a harmony question, but what font do you use for your scores again?

[S-H]

I think an article on YOUR compositional process would be a great resource for fellow composers.

Also, not an article suggestion, but do you think "Lux Aeterna" was Ligeti's own version of Ockeghem's "Missa Prolationum", or do you think he just wanted to compose a piece using the prolation canon technique, regardless of being inspired/influenced by Ockeghem? (You know his bio, and have probably read the majority of Gyorgy's writings so I thuoght I'd ask you than get a POS answer from the net lol).

[Roberto]

Hey, nice to see you here.

I would be glad to talk about some of my own music here. Not sure about writing a column on it, not sure it would make sense to have that as a column. I would rather keep that somewhat more informal and open ended.

Ligeti's adaptation of renaissance polyphony was indeed a large part of what lead him towards the creation of micro-polyphony, though, I don't see it as a "version" of pre-baroque counterpoint, as much as a complete reinterpretation on how to approach counterpoint. Also, I think it would be important to realize the impact electronic music had on composers of the post war, and I think that experience in the electronic labs (and subsequently attempting to move some of those ideas back into the symphony orchestra) as well as the return to pre-baroque polyphonic ideals as a point of departure led to alot of the music you have in mind in regards to this subject.

Penderecki talks about this very relation between the electronic studio and the development of his avant-garde musical phase - he also comments on the importance of renaissance polyphony on the St. Luke Passion.

Ligeti does the same in talking about the Requiem.

More on this later on... sleep time.

I think an article on YOUR compositional process would be a great resource for fellow composers.

Also, not an article suggestion, but do you think "Lux Aeterna" was Ligeti's own version of Ockeghem's "Missa Prolationum", or do you think he just wanted to compose a piece using the prolation canon technique, regardless of being inspired/influenced by Ockeghem? (You know his bio, and have probably read the majority of Gyorgy's writings so I thuoght I'd ask you than get a POS answer from the net lol).

[S-H]

Hey, nice to see you here.

Cheers. I won't be on too often, but there's no harm in signing up and posting when I can.

I would be glad to talk about some of my own music here. Not sure about writing a column on it, not sure it would make sense to have that as a column. I would rather keep that somewhat more informal and open ended.

Ok, the floor is all yours- go! Lol

Once a line or colour/vibe pops into your head, do you take a regimented approach to composing a whole piece from this "start" or are you more relaxed and add little bits and pieces to it as and when you feel they fit?

Since there are no real time limits when composing pieces which aren't commissioned, I would guess the latter- but maybe adopting a strict way of composing works better in some situations? (And I personally would work that way).

Ligeti's adaptation of renaissance polyphony was indeed a large part of what lead him towards the creation of micro-polyphony, though, I don't see it as a "version" of pre-baroque counterpoint, as much as a complete reinterpretation on how to approach counterpoint. Also, I think it would be important to realize the impact electronic music had on composers of the post war, and I think that experience in the electronic labs (and subsequently attempting to move some of those ideas back into the symphony orchestra) as well as the return to pre-baroque polyphonic ideals as a point of departure led to alot of the music you have in mind in regards to this subject.

Ah ok. I've read that Ligeti was influenced/inspired by Ockeghem and wondered whether pieces like "Missa Prolationum" indirectly, or even directly, inspired Ligeti's works such as "Lux Aeterna".

I suppose "his own expansion of..." makes more sense than "his version of.." but I knew what I meant. Lol

[Roberto]

-You should drop by more often!

-I will post parts of my written thesis as I finish it, that will be on the Japan piece and have some useful information about the work from a musical/aesthetic point of view.

-I work in a rather obsessive way... on/off for the various months it takes to complete a large work. When I'm working most efficiently, I do indeed work for multiple hours per day... other times, I take a break and passively think about possible solutions to whichever piece I am working on.

Though, I always have some deadline in mind, which keeps me honest. Also, I tend to work on a large work, and have a smaller work on the side which I try to get finished in the mean time, just to be able to balance the energy between something long term and short term.

Cheers. I won't be on too often, but there's no harm in signing up and posting when I can.

Ok, the floor is all yours- go! Lol

Once a line or colour/vibe pops into your head, do you take a regimented approach to composing a whole piece from this "start" or are you more relaxed and add little bits and pieces to it as and when you feel they fit?

Since there are no real time limits when composing pieces which aren't commissioned, I would guess the latter- but maybe adopting a strict way of composing works better in some situations? (And I personally would work that way).

[S-H]

-You should drop by more often!

-I will post parts of my written thesis as I finish it, that will be on the Japan piece and have some useful information about the work from a musical/aesthetic point of view.

-I work in a rather obsessive way... on/off for the various months it takes to complete a large work. When I'm working most efficiently, I do indeed work for multiple hours per day... other times, I take a break and passively think about possible solutions to whichever piece I am working on.

Though, I always have some deadline in mind, which keeps me honest. Also, I tend to work on a large work, and have a smaller work on the side which I try to get finished in the mean time, just to be able to balance the energy between something long term and short term.

I'll pop by as often as I can, I promise.

So, for the "Crucifixion" piece, was that composed specifically for the competition, and if so which other piece(s) did you have going on at the same time?

Since that's an orchestral piece, did you think "right, I'll compose a small work for solo instrument" or do you prefer to compose multiple-instrument works? (though not necessarily the size of Crucifixion).