Keyword(s):Serialism , Analysis , Structural Analysis , Electroacoustic Music , Electronic Music
This article focuses on the creative processes used in Guai ai gelidi mostri within the ‘series’ (according to Nono’s interpretation of his own works) of pieces written between 1980 and 1983 before Prometeo. The author analyses various aspects including the text by M.Cacciari and the compositional process. The piece is structured in 4 sections, alternating between extreme control and aleatoric choice regarding; melodic, harmonic and rhythmic principles, writing processes for the voices (tempered system), for the winds (microtones) and for electronics (a bridge between the two systems). Nine pages are devoted to the descriptions of filters and band pass filters (using an augmented fourth interval), delay (used to create canons as well as the fusion with acoustic parts), the harmonizer (transposition and phasing), the alternation between a sense of Gregorian and synagogue songs, spatialisation using the Halaphon (12 algorithmic programs), and microphones. The main principle is the dialectic one: alternating fragmentation of materials with attention given to the overall form, control and chance. The author employs sketches (schemes, graphs, texts) for the discovery of changes between the versions performed in Cologne in 1983 and in Paris in 1985.
CREMASCHI, Andrea (2005). Parola-suono-silenzio: Guai ai gelidi mostri di Luigi Nono