THE ELECTRONIC WORKS OF GYÖRGY LIGETI AND THEIR ...

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Figure 3.1a. Artikulation, 2'34", Amplitude Graph 111
Figure 3.1b. Artikulation, 2'34", Spectrograph of Wider Context 112
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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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mask this invariance, and perhaps m
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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 and 114: A3 7 533.4 532 670 8.79 A4 9 685.8
Page 115 and 116: 19 In fact, the instructions in the
Page 117 and 118: 21 other hand, while balanced in wh
Page 119: will be discussed in the last chapt
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
Page 165 and 166: Conclusions (Stage I) Thus, at the
Page 167 and 168: Figure 3.13. Spectrograph of Phase
Page 169 and 170: 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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Table 3.15. Table of Oppositions fo
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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
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Recordings Institute for Sonology.
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