THE ELECTRONIC WORKS OF GYÖRGY LIGETI AND THEIR ...

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presented as separate, their distinctions quickly break down. Ultimately there is no permanent or lasting synthesis, and no resolution of these disparate elements. The materials at the end are recognizable, but transformed from their initial appearances, as Ligeti does not force any sort of contrived formal recapitulation, nor does he end at the extreme goal of a simple process, instead he prefers this epilogue, which advances the piece while stepping back from the climax. Observing these sound types engage in yet another sort of interaction, now broken back down into shorter segments, but with each segment still a bundle of constituent elements, we come to a better awareness and understanding of the dynamic facets of these complex sounds and their underlying basis in opposition. And it is through the dialectic processes of combination and juxtaposition which make up the piece itself that these individual elements are better articulated, thus giving us a clue to the very title of the composition. 203
Chapter 4: Later Works and Concluding Thoughts While he was composing the electronic works examined in the last two chapters, Ligeti was also working on the orchestral piece that would become Apparitions. This piece went through a number of different drafts under different titles, including Víziók (Visions) and Sötét és Világos (Dark and Light). Ligeti began the final version of Apparitions in 1958, just after Artikulation, and completed it early in 1959. It is this final version of Apparitions where the knowledge Ligeti has acquired in the studio is first put into practice in instrumental composition in recognizable ways. The previous chapters have uncovered many new techniques and strategies for compositional design in the electronic idiom. In particular the analyses have included discussions of Ligeti’s methods for determining durations, generating and categorizing musical material, as well as some of the factors he considered when arranging this material into the final piece. This chapter will continue to address these same concerns but rather than going through Apparitions as it unfolds, this chapter will be organized to address these issues in turn: first rhythmic practice, then approaches to pitch and resulting musical gestures, and finally form. This will allow the opportunity to make specific comparisons to the electronic precedents, pointing out specific chains of influence. It will also allow a preliminary extension of these findings to later pieces, and thus bringing this study to its stated goal. Rhythmic Practice: When Ligeti escaped Hungary during the revolution of 1956, he describes himself as largely ignorant of the practices of the Western-European avant-garde. 204
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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
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Table 3.5. Table of Oppositions for
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Dynamics and Attack Strength/Densit
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Region B, which begins, rather than
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Figure 3.8. Spectrograph of Stage I
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Sonic Material (compact and diffuse
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pronounced attack of the beginning
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Table 3.7. Table of Oppositions for
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Events 1 and 2, durations These ini
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Register Apart from the aforementio
Page 161 and 162: Figure 3.12. Spectrograph of Region
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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
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Page 187 and 188: Dynamic gestures form similarly com
Page 189 and 190: synthesized by Event J2's final ele
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: C’s first event, which remains di
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
Page 239 and 240: of “dry [i.e. unreverberated] imp
Page 241 and 242: diatonic material, crescendo to a p
Page 243 and 244: spectrograph of a passage from near
Page 245 and 246: illusory idea, unfeasible. It dawne
Page 247 and 248: The degree of alignment of the desi
Page 249 and 250: fact that the arching middle sectio
Page 251 and 252: compact and diffuse material and sp
Page 253 and 254: Figure 4.12. Spectrograph of Pièce
Page 255 and 256: Figure 4.13. Spectrograph of Atmosp
Page 257 and 258: hand column of the chart below, the
Page 259 and 260: hythmic design of stasis as well as
Page 261 and 262: 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
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Salllis, Friedemann. An Introductio
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Recordings Institute for Sonology.
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