THE ELECTRONIC WORKS OF GYÖRGY LIGETI AND THEIR ...

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One such point of interaction occurs as Region G dissolves into the uncoordinated attacks of Event J-1. The sustained spectra of the early events of Region G transform into dense, continuous, clouds of spectra, which in turn give way to the scattered, clipped pitches of J-1. With this change, one of the major distinctions between the sustained or moderately sustained events of Region G and clipped events of Region H is removed. Thus the starting point of Region J is already significantly closer to that of Region H in this dimension. A notable pause in Region H occurs at the onset of this new development, calling attention to the soft, scattered, sine tones in the nascent Region J. Since these attacks are more similar to Region H’s they could be lost–overpowered by the louder events of the right channel–if Ligeti did not allow for this initial space. Furthermore, when Region H reenters, we hear the similarity in the clipped, level elements and must reinterpret the same material in a new context. There is a similar point of interaction at the noisy ending of Event J-1, the point where noise and pitch exchange in Region J is most abrupt. The dissevered glissando at the end of H-3 follows immediately. This seemingly oblique point in Region H is made of level impulses, which help moderate the forthcoming exchanges between pitch and noise, and also help prepare the glissandi which persist in the other channel. Event H4 also contains points of interaction with Region J. The anomalous low pitched sound (H4a) plays off of event J2. It surrounds the first, diffuse, element of J2, highlighting this sound as a noise when heard against the harmonic spectrum. There is also a clear contrast in registers as H4a occupies the space between 80 and 240 Hz. and J2's first element has its lowest partial at 353 Hz. These contrasts are then seemingly 179
synthesized by Event J2's final element, which, while consistent with the channel of Region J, and completing the mid-high-low contour mentioned above, also dips down into the range of previously occupied by Event H4a, and uses pitch-based spectra closer to those of H4a than to the noisier J2a. Finally, the end of Event H4 contains a glissando, whose impulses are relatively diffuse and move quickly downward. This is followed immediately by Event J3, where the most dramatic exchanges of pitch and noise take place, and where the crescendoing and decrescendoing gestures are most frequent and most thoroughly mixed with glissandi. Once again the moderate state of Region H’s event can be heard as mediating the contrasts in Region J. Furthermore, the glissando again brings together elements of the different regions. In particular the downward glissando which ends J3 can now be heard as recalling not only the downward gliss ending J2 (mentioned above in association with H4a), but also, more immediately, with the downward gliss of H4b which it follows directly. Conclusions, Stage II In Stage I, the first phase corresponded to the exposition of trends towards registral expansion, increase in volume, and acceleration and the second phase to an increase in internal diversification of regions. Stage II first presents clear changes in individual parameters–the glissing and crescendoing sounds of Region G, but quickly combines these in more complicated interactions. Stage I and Stage II, then, show global similarities, first focusing on motions within individual parameters, and then undercutting 180
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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
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2'38") dramatically reduces the rev
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Some of the invariant gestures whic
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Figure 2.11. Spectrograph of Sectio
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These angular glissandi fade in slo
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material was previously used, have
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etrograde of the louder, denser, an
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that brought the piece to its midpo
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Figure 2.15. Spectrograph of Anomal
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Figure 2.16. Anomaly Area 2, Materi
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Figure 2.17. Spectrograph of Retrog
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Figure 2.18. Anomaly Area 3, Materi
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schematic. Three-quarters of the wa
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the descent of this material, which
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Figure 2.21. Spectrograph of the In
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material, that in itself contains b
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2 whereas before Section F dominate
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traditional pitch systems, such as
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demonstrates a thorough understandi
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6 Karlheinz Stockhausen, Stockhause
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cm/sec. which was standard at the W
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change is unclear-perhaps Ligeti ha
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piece, which he describes as, “a
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A3 7 533.4 532 670 8.79 A4 9 685.8
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19 In fact, the instructions in the
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21 other hand, while balanced in wh
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will be discussed in the last chapt
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Figure 3.1b. Artikulation, 2'34", S
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Using this terminology in place of
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IV. Analysis: Overview: With these
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The following table summarizes the
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Stage II In the transitional second
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Stage III After this point the cohe
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Detailed Analysis of Regions Region
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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
Page 171 and 172: and very clear dynamic gestures-cre
Page 173 and 174: The remainder of Region G is largel
Page 177 and 178: Figure 3.18. Spectrograph of Transi
Page 181 and 182: Patterning within Region H Globally
Page 185 and 186: further subdivide Event 3 into 3 pa
Page 187: Dynamic gestures form similarly com
Page 191 and 192: Stage III into three regions of one
Page 195 and 196: direction within this span. The rig
Page 197 and 198: Region L The sounds of Region L are
Page 201 and 202: decrescendo gesture in the right an
Page 205 and 206: Coda: This silence prepares the fin
Page 209 and 210: introduce noisier, diffuse sounds.
Page 211 and 212: C’s first event, which remains di
Page 213 and 214: Chapter 4: Later Works and Concludi
Page 215 and 216: adherence to duration rows in piece
Page 217 and 218: equal to 256 thirty-second notes gi
Page 219 and 220: Table 4.3b. A B C V 585 390 195 585
Page 221 and 222: demand further reflection. For inst
Page 223 and 224: Figure 4.1. Duration Scheme for App
Page 225 and 226: Ligeti’s experiences in the elect
Page 227 and 228: [sic] can play them, all of them ma
Page 229 and 230: Hungary, their particular employmen
Page 231 and 232: One may note the similarity in thes
Page 233 and 234: Stockhausen also permutes dynamic l
Page 235 and 236: proceeded from lowest to highest, h
Page 237 and 238: 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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