THE ELECTRONIC WORKS OF GYÖRGY LIGETI AND THEIR ...

Region B, which begins, rather than ends, with low impulses–centered even more
compactly around 65 Hz–and immediately uses these to fashion new gestures, introducing
glissandi, and other registral motions within this grave register. The higher pitched
impulses (i.e. the upper end of the wedge which ended Event A-1) have, in a way, been
left hanging through Region B, but will be picked up again by aspects of Region C,
discussed below. Connections such as these are numerous and serve to emphasize the
point that while the Regions I have defined are meaningful units, the flow of the piece is
much smoother than would be implied by simple succession of contrasting sections.
Stage I, Phase 2 (Regions C-F):
The second phase of Stage I begins to enrich the possibilities presented in the
opening phase; this occurs both through the introduction of noisier sonic characters and
through regions which contrast with the trends presented by A and B. Having established
both impulses and more compact sine-tones in the 30 seconds of the opening phase, the
next few regions of the piece continue to introduce several different sound types, largely
playing with the distinction between noise and pitch and introducing more diffuse
elements. These eventually intermingle within a single region. Region F completes this
process and involves a more complicated sort of dialogue pitting noise and pitch against
one another in a new, more polyphonic, way. In addition the continuing interaction of
spatial positions further enhances this burgeoning sense of parametric polyphony.
The individual regions of Phase 2 also contrast with the direction laid out by the
opening regions, although the trend across these regions is still clearly toward denser
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