THE ELECTRONIC WORKS OF GYÖRGY LIGETI AND THEIR ...

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A and the other sections, and in those cases where they do not, I will explain in the analysis below. While Ligeti’s flexible method and use of chance as a determinant, may seem strikingly original and even free in comparison to the strict serialism associated with the Cologne composers, it entails numerous constraints not unlike those imposed by serial practice. While the aleatoric method of drawing tape pieces out of a box may at first seem to undermine any idea of a preplanned or organized form, at each step the pieces were organized by their common characteristics thus limiting any randomness or chance operations to the smallest scale and to the most surface level of the piece. Secondly, the use of procedures termed “statistical” and approaching the use of chance operations was not unprecedented at the WDR; in fact here we see some of the influence of Koenig. While aiding Stockhausen with the realization of Gesang der Jünglinge, Koenig had a novel solution to the creation of very dense and complicated clouds of very short sounds. According to his student, Konrad Boehmer, Koenig was convinced that it would not be at all sensible to record thousands of centimeter-long particles of sinus tones and then to measure, cut, and finally glue them together. For this reason, he proposed a quasi-aleatoric production process in which he began with tapes of short magnetic and white-taped sections and then recorded a sinus-glissando that would be automatically divided into distinct, small particles. If several such tapes are synchronized... one hears a “cloud” of tiny sound particles with an all-embracing global direction. Although the composer might not have absolute control over every detail, he or she can control the audible result. Consequently in Essay, Koenig wanted to understand the entire process more accurately. 18 18Boehmer, Konrad. “Koenig–Sound Composition–Essay.” in Electroacoustic Music: Analytical Perspectives, Thomas Licata, ed. (Westport: Greenwood Press, 2002), 62-63. 105
19 In fact, the instructions in the score to his composition, Essay, Koenig describes a similar process of generating material, aspects of which were left to chance (although these aleatoric elements are largely confined to details of frequency curves which are only schematically indicated in the score), then transforming this material through techniques (usually serially determined) such as ring-modulation, transposition, filtering, and reverberation, and finally dividing up the resulting material and recombining it into sections of the finished piece. There are, however, a few main differences in Ligeti’s methods in defining source sounds, distributing these sounds into larger sections, and using these transformational techniques. First of all, Koenig’s original materials consist of the many possible 20 combinations of elemental timbres: sine tones, filtered noise, filtered impulses , and permutations of these (single elements, their combinations, and the transference from one element to another). This limited definition of starting material will ensure some basic similarity between the sounds both within and across sections. The definition of categories strictly related to these types of materials, and the serial organization of these categories, guides Koenig’s organization of the larger scale elements of the piece. Ligeti’s sounds on the other hand are not entirely divided by means of technical production, but, in some cases by more general categories (e.g. “coughing”) which are less systematically used. Thus, even at this starting point, Ligeti’s sounds could have been organized by the 19Koenig, Gottfried Michael. Essay: Komposition fur elektronische Klänge, 1957. Partitur zugleich technische Arbeitsanweisung. (Vienna: Universal Edition, 1960). 20Noises are defined as a bandwidth 5% from a given frequency, impulses as a 1% bandwidth and usually refer to events with shorter durations, see Koenig, Essay, 12. 106
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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
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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 and 112: piece, which he describes as, “a
Page 113: A3 7 533.4 532 670 8.79 A4 9 685.8
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
Page 163 and 164: 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
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Dubiel, Joseph. Review of Sound Col
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Koblyakov, Lev. Pierre Boulez: A Wo
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Music, Rock, and Jazz Since 1945: E
Page 269 and 270:
Salllis, Friedemann. An Introductio
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Recordings Institute for Sonology.
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