THE ELECTRONIC WORKS OF GYÖRGY LIGETI AND THEIR ...

Conclusions (Stage I)
Thus, at the end of the first stage of the piece, two things have been accomplished,
corresponding to the two phases of Stage I. First, the opening regions establish trends
towards higher, denser, and louder sounds; these regions also establish the primacy of
channel separation as a factor in determining the boundaries of regions. The regions of
Phase 2 begin to elaborate and even to break down these trends. These regions do not
always have the clear registral motions that the first did, and the other oppositions which
were initially coordinated begin to divest themselves from this established progression
towards accelerated activity and begin to present material which is varied or transforms
itself in other ways through the course of a region. Furthermore, while the overlapping of
Regions C and D, and later between E and F, does not present any conceptual obstacle to
hearing the differences between these regions, it does set a precedent which will be taken
up in the transition. Finally, Region F presents two distinct types of material which
alternate, building on the idea of increased internal differentiation between sonic materials,
and presenting the possibility of a dialogue within a single region.
Stage II
The transitional Stage II can also be considered in two phases, although here the
change from Phase 1 to Phase 2 is a smoother process than in Stage I. The first phase of
the Transition accomplishes two objectives. It first focuses on a number of gestures which
change continuously, rather than discretely. These pave the way for a significant
departure from previous use of spatial distribution by having Region G move continuously
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