THE ELECTRONIC WORKS OF GYÖRGY LIGETI AND THEIR ...

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14 1500 100 1500 15/14 15 1700 200 1704.55 12.5/11 16 1900 200 1900.91 12.3/11 17 2100 200 2098.64 12.15/11 18 2300 200 2300.45 12.05/11 19 2500 200 2509.09 12/11 20 2800 300 2795.45 12.3/11 total: 26050 (+410) total+ 410: 26460 *the columns do not appear in the original sketch These were then reordered to give the following (sub)sections the following values: Table 3.3b. Artikulation: Reordered Durations of Subsections A1 1300 B 1700 A2 910 C 2500 A3 670 D 1500 A4 740 E1 2100 A5 610 E2 500 A6 1100 E3 1000 A7 2300 F 2800 A8 1200 G 1400 A9 1900 A10 450 A11 820 A12 550 As such, this configuration would have produced a piece nearly 6 minutes long; and there were, indeed, further modifications of this scheme. Rainer Wehinger’s listening score reproduces these section divisions, listing the final timings of the sections in seconds. I have converted them to centimeters below, using 76.2 cm/sec in the first column, and then 76 cm in the second. 17 Table 3.3c. Artikulation: Comparison of Subsection Durations sec. cm cm from sketches in sec. A1 17 1295.4 1292 1300 17.06 A2 11 838.2 836 910 11.94 17 76.2 cm/sec was the standard tape speed, although for ease of calculation, composers at the WDR often made their calculations based on 76 cm/sec. 103
A3 7 533.4 532 670 8.79 A4 9 685.8 684 740 9.71 A5 7 533.4 532 610 8.01 A6 14 1066.8 1064 1100 14.44 A7 29 2209.8 2204 2300 30.18 A8 14 1066.8 1064 1200 15.75 A9 24 1828.8 1824 1900 24.93 A10 2 152.4 152 450 5.91 A11 9 685.8 684 820 10.76 A12 3 228.6 228 550 7.22 B 5 381 380 1700 22.31 C 6 457.2 456 2500 32.81 D 7 533.4 532 1500 19.69 E 18 1371.6 1368 2100, 500, 1000* 27.56, 6.56, 13.12 F 14 1066.8 1064 2800 36.75 G 14 1066.8 1064 1400 18.37 *3 values appear in the sketches for Section E While some of the modifications are substantial, it is significant to notice that these fall predominantly in the second half of the piece. Nowhere before A10 is there more than 2 seconds (152.4 cm) of difference between the original and modified values. Also most of these alterations involve shortening the original durations of the second half of the piece. Since the piece, in Ligeti’s own words, involves a progression towards states of mixture, and as we shall see in the analysis, this is often carried out by increasing the density of the textures, it could be that prolonging the later stages of the piece worked against this goal, although this is speculative. Since these later sections (B-G in particular) are so drastically shortened, I find it misleading to consider them as equal partners to Section A, especially since the subsections of A are often use the most contrasting material, and are, therefore, the easiest to distinguish aurally, while the later regions are the more interpenetrated and mixed together. I believe the “Regions” I identify below are more representative of how one experiences the piece. In most cases, these Regions coincide with the subsections of 104
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ABSTRACT Title of Dissertation: THE
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THE ELECTRONIC WORKS OF GYÖRGY LIG
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ACKNOWLEDGMENTS I would like to ack
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LIST OF TABLES Table 3.1. Artikulat
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Figure 3.16. Spectrograph of Region
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There are many reasons to suspect t
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were influential in the musical thi
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8 minutes.” Steinitz points to on
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employment as part of the musical d
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with pages of Ligeti’s sketches,
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of Glissandi. Since Stroppa’s fir
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specific piece or to address a spec
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generate spectrographs using the Sp
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30Robert Morris, Composition with P
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Each of these oppositional pairs de
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composed for four channels of elect
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This method of calculating the stre
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harmonic categories that was common
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etween three-object sets; a move fr
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qualities described by his system o
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Chapter 2: Analysis of Glissandi Li
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sectional, this work is also organi
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frequencies will not be exact, but
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much denser textures, the filtering
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nd Figure 2.2b. Glissandi, Spectrog
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added my section labels and timings
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Figure 2.3. Spectrograph of Section
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course of Event 2 is the effect of
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The duration scheme of Section B is
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Figure 2.6. Quasi-Serial Matrix for
Page 61 and 62: Figure 2.7. Spectrograph of Section
Page 63 and 64: Figure 2.8. Spectrograph of Section
Page 65 and 66: mask this invariance, and perhaps m
Page 67 and 68: peaking at 1460 Hz. While this peak
Page 69 and 70: 2'38") dramatically reduces the rev
Page 71 and 72: Some of the invariant gestures whic
Page 73 and 74: Figure 2.11. Spectrograph of Sectio
Page 75 and 76: These angular glissandi fade in slo
Page 77 and 78: material was previously used, have
Page 79 and 80: etrograde of the louder, denser, an
Page 81 and 82: that brought the piece to its midpo
Page 83 and 84: Figure 2.15. Spectrograph of Anomal
Page 85 and 86: Figure 2.16. Anomaly Area 2, Materi
Page 87 and 88: Figure 2.17. Spectrograph of Retrog
Page 89 and 90: Figure 2.18. Anomaly Area 3, Materi
Page 91 and 92: schematic. Three-quarters of the wa
Page 93 and 94: the descent of this material, which
Page 95 and 96: Figure 2.21. Spectrograph of the In
Page 97 and 98: material, that in itself contains b
Page 99 and 100: 2 whereas before Section F dominate
Page 101 and 102: traditional pitch systems, such as
Page 103 and 104: demonstrates a thorough understandi
Page 105 and 106: 6 Karlheinz Stockhausen, Stockhause
Page 107 and 108: cm/sec. which was standard at the W
Page 109 and 110: change is unclear-perhaps Ligeti ha
Page 111: piece, which he describes as, “a
Page 115 and 116: 19 In fact, the instructions in the
Page 117 and 118: 21 other hand, while balanced in wh
Page 119 and 120: will be discussed in the last chapt
Page 121 and 122: Figure 3.1b. Artikulation, 2'34", S
Page 123 and 124: Using this terminology in place of
Page 125 and 126: IV. Analysis: Overview: With these
Page 127 and 128: The following table summarizes the
Page 129 and 130: Stage II In the transitional second
Page 131 and 132: Stage III After this point the cohe
Page 133 and 134: Detailed Analysis of Regions Region
Page 135 and 136: The expansion into the lower regist
Page 137 and 138: Table 3.5. Table of Oppositions for
Page 139 and 140: Figure 3.7. Spectrograph of Region
Page 141 and 142: Dynamics and Attack Strength/Densit
Page 143 and 144: Region B, which begins, rather than
Page 145 and 146: Figure 3.8. Spectrograph of Stage I
Page 147 and 148: Sonic Material (compact and diffuse
Page 149 and 150: pronounced attack of the beginning
Page 151 and 152: Table 3.7. Table of Oppositions for
Page 155 and 156: Events 1 and 2, durations These ini
Page 159 and 160: Register Apart from the aforementio
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the average length of previous even
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Conclusions (Stage I) Thus, at the
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Figure 3.13. Spectrograph of Phase
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Table 3.11. Table of Oppositions fo
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and very clear dynamic gestures-cre
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The remainder of Region G is largel
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Figure 3.18. Spectrograph of Transi
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Patterning within Region H Globally
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further subdivide Event 3 into 3 pa
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Dynamic gestures form similarly com
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synthesized by Event J2's final ele
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Stage III into three regions of one
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direction within this span. The rig
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Region L The sounds of Region L are
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decrescendo gesture in the right an
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Coda: This silence prepares the fin
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introduce noisier, diffuse sounds.
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C’s first event, which remains di
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Chapter 4: Later Works and Concludi
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adherence to duration rows in piece
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equal to 256 thirty-second notes gi
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Table 4.3b. A B C V 585 390 195 585
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demand further reflection. For inst
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Figure 4.1. Duration Scheme for App
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Ligeti’s experiences in the elect
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[sic] can play them, all of them ma
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Hungary, their particular employmen
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One may note the similarity in thes
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Stockhausen also permutes dynamic l
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proceeded from lowest to highest, h
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Figure 4.5b. Spectrograph of Appari
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of “dry [i.e. unreverberated] imp
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diatonic material, crescendo to a p
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spectrograph of a passage from near
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illusory idea, unfeasible. It dawne
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The degree of alignment of the desi
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fact that the arching middle sectio
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compact and diffuse material and sp
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Figure 4.12. Spectrograph of Pièce
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Figure 4.13. Spectrograph of Atmosp
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hand column of the chart below, the
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hythmic design of stasis as well as
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Bibliography Adorno, Theodor W. Ess
Page 263 and 264:
Dubiel, Joseph. Review of Sound Col
Page 265 and 266:
Koblyakov, Lev. Pierre Boulez: A Wo
Page 267 and 268:
Music, Rock, and Jazz Since 1945: E
Page 269 and 270:
Salllis, Friedemann. An Introductio
Page 271 and 272:
Recordings Institute for Sonology.
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