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Alan Williams (2001)
Kurtág, Modernity, ModernismsContemporary Music Review, 20
Maurice Blanchot (1993)
The Infinite Conversation
Sylvia Grmela (2004)
Exploiting Material to the Maximum: Pitch Structure and Recall in Kurtág's Instrumental Music
Sallis Friedmann (2014)
10.1093/acprof:oso/9780199936182.003.0015
Michael Buchler (2020)
Ornamentation as Gesture in Atonal MusicMusic Theory Spectrum, 42
Olive Jean‐Paul (2015)
10.1017/CBO9781316411766.008
Rachel Beckles Willson (2007)
Ligeti, Kurtág, and Hungarian Music during the Cold War
Paul Griffiths (1995)
Modern Music and After
Bálint András Vagra (2009)
György Kurtág: Three Interviews and Ligeti Homages
John Clough (2002)
Diatonic Trichords in Two Pieces from Kurtág's Kafka-Fragmente: A Neo-Riemannian Approach, 43
M. Scheuregger (2014)
Fragment, Time and Memory: Unity in Kurtág's Kafka FragmentsContemporary Music Review, 33
Matthew Sandahl (2021)
Kurtág's Fragmentary Forms: Incompletion and Unity in Op. 7 and Op. 28
Friedrich Schlegel (1971)
Friedrich Schlegel's Lucinde and the Fragments
A. Whittall (2001)
Plotting the path, prolonging the moment: Kurtág's Settings of GermanContemporary Music Review, 20
Drabkin William (2001)
10.1093/gmo/9781561592630.article.24628
Anna Dalos (2020)
Parlando Rubato György Kurtág and Hungarian Folk MusicStudia Musicologica
M. Bell (1994)
The Idea of Fragmentariness in German Literature and Philosophy, 1760-1800Modern Language Review, 89
S. Walsh (1982)
György Kurtag: An Outline Study (II)Tempo
Peter Elsdon, Björn Heile (2004)
The Cambridge History of Twentieth‐Century Music
Daniel M. Grimley (2019)
The Oxford of Handbook of Critical Concepts in Music Theory
Stephen Walsh (1982)
György Kurtág: An Outline Study (1)Tempo
Alan Williams (1999)
The literary sources for Kurtág's fragment formContemporary Music Review, 18
György Kurtág (1998)
Einige Sátze aus den Sudelbüchern Georg Christoph Lichtenbergs: für Sopran Solo (ohne oder mit Instrumenten), Op. 37
Richard Kramer (2008)
Unfinished Music
Jean‐Paul Olive (2015)
Transformations of Musical Modernism
Y. Wu (2018)
A New Similarity Measurement of Pitch Contour for Analyzing 20th- and 21st-century Music: The Minimally Divergent Contour NetworkIndiana Theory Review, 31
R. Willson (2003)
To Say and/or To Be? Imcongruence in Kurtág's The Sayings of Péter Bornemisza, Op. 7Music Analysis, 22
Friedmann Sallis (2014)
The String Quartets of Béla Bartók: Tradition and Legacy in Analytical Perspective
Hestholm Marion (2015)
10.1017/CBO9781316411766.009
Charles Rosen (1995)
The Romantic Generation
Deborah Stein (2005)
Engaging Music: Essays in Music Analysis
William Drabkin (2001)
Grove Music Online
Ben Grant (2016)
The Aphorism and Other Short FormsModern Language Review
(2004)
Paradoxical Forms: Kafka, Kurtág and the Twentieth‐Century Musical Fragment
Ben Grant (2016)
The Aphorism and Other Short Forms: the New Critical Idiom
David Metzer (2009)
Musical Modernism at the Turn of the Twenty‐first Century
Elsdon Peter (2004)
10.1017/CHOL9780521662567.025
William Kinderman (2012)
The Creative Process in Music from Mozart to Kurtag
Y. Wu (2019)
An Extension of the Minimally Divergent Contour Network: Considering Nonconsecutive Repeated Contour PitchesMusic Theory Spectrum
(2022)
Reexamining the Infrastructure of the Minimally Divergent Contour Network: Edit Distance, Contour‐Route Class (CRs), and Contour‐Route‐Class Similarity (CRSIM)
György Kurtág (1992)
Kafka‐Fragmente: für Sopran und Violine, Op. 24
S. Blum (2002)
Kurtág's Articulation of Kafka's Rhythms (Kafka-Fragmente, op. 24), 43
Christian Allan Gentry (2012)
Moment, Object, and Narrative: The “Path” Pieces of György Kurtág's Kafka‐Fragmente, Op. 24 for Soprano and Violin; and an Original Composition, Tableaus for Percussion Quartet and Digital Playback
(2018)
Reading Kurtág with Kafka: the Fragmentary and the Theatrical in Kafka‐Fragmente, Op. 24
(2010)
‘Schumann's Fragment
Alvaro Oviedo (2008)
Centre and Periphery, Roots and Exile: Interpreting the Music of István Anhalt, György Kurtág, and Sándor Veress
One of the most distinctive developments in György Kurtág's output from the beginning of the 1980s is his setting of incomplete texts. He entitles these songs ‘fragments’, suggesting that they are musical scraps that accompany the extracts from great writers’ works. Kurtág's most representative contribution to this genre is his chamber song cycle Kafka‐Fragments, Op. 24, for soprano and violin (1986). Slightly over a decade later, Kurtág selected 22 aphorisms by Georg Christoph Lichtenberg and set them in a new vocal chamber cycle for soprano and double bass as Several Movements from Georg Christoph Lichtenberg's Scrapbooks (Op. 37a, 1999). To date, most scholars interested in the fragmentary qualities of Kurtág's songs have focused on Op. 24, leaving Op. 37a relatively unexplored. This article corrects this imbalance by providing analyses of three movements from Op. 37a. I approach these songs from the angles of text setting, pitch structure and melodic contour to show how Kurtág utilises these elements to achieve the defining features of ambiguity and incompletion central to the musical fragment.
Music Analysis – Wiley
Published: Oct 1, 2022
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