Sound Color in the Music of GYA-RGY KURT G : String Quartet, Op. 1 The Sayings of Peter Bornemisza Omagio a Luigi Nono Messages of the Late R. V. Troussova

The music of Gyrgy Kurtg 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 Kurtg's approaches to the domain of sound color occupies the chapters that follow. Rather than relying on extended instrumental techniques, Kurtg 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 Kurtg'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 trouvs) 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 Gyrgy Kurtg.