THE ELECTRONIC WORKS OF GYÖRGY LIGETI AND THEIR ...

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seen the progression from Glissandi where Ligeti calculates first and foremost in seconds, to Artikulation where the calculations are primarily in centimeters; his continued rhythmic practice in the first movement of Apparitions is similar, in that it involves calculations nd using almost-inaudibly minute units, in this case 32 notes. Returning to the earlier analysis of Artikulation in light of Ligeti’s quote above, we can now tell that the determination of the material in “Material 3” (see the previous chapter, pp 98-100) followed the same procedures as Ligeti details in his quote above. Moreover, while the individual tape segments were further altered, rearranged, and impossible to trace back to the surface of the piece, this same process is found in Apparitions where it can be traced from the composition’s abstract plan, directly to the score. In sketches for that piece the diagram in Table 4.1 is found. 7 Table 4.1. Durations and Number of Instances for Apparitions, mvt. 1 I 2 80 160 II 3 53 159 III 4 40 160 IV 6 27 162 V 10 16 160 VI 14 11 154 VII 20 8 160 VIII 32 5 160 IX 48 3 144 X 80 2 160 XI 112 1 112 XII 160 1 160 (XIII) 256 1 256 Here, in an example quite similar to Table 3.1, showing “Material 3” from Artikulation, there are twelve base values, which, in the second column are calculated in thirty-second notes, and thus range from a sixteenth note to five whole notes, with a thirteenth value 7 Tables 4.1-4.4 are all transcribed from sketches in the György Ligeti Collection of the Paul Sacher Foundation in Basel. 207
equal to 256 thirty-second notes given in parentheses. The number of occurrences is given in the next column, and in this case, the product is written out and is equal to approximately 160. These values are then split up into four groups which will represent the four divisions of the movement of Apparitions. In other pages of the sketches, transcribed in Table 4.2, he outlines the duration scheme for each of these four groups. Table 4.2. Division of Individual Durations into Sections of Apparitions, mvt. 1 A 160 80 48 32 20 14 10 6 4 3 2 32 20 14 10 6 4 3 2 20 14 10 6 4 3 2 14 10 6 4 3 2 6 4 3 2 2 B 32 20 14 10 6 6 4 4 4 4 3 3 3 3 2 2 2 2 20 14 10 6 6 4 4 4 4 3 3 3 3 2 2 2 10 6 6 4 4 4 4 3 3 3 3 2 2 2 10 6 6 4 4 4 4 3 3 3 3 2 2 2 6 6 4 4 4 4 3 3 3 3 2 2 2 6 6 2 2 2 2 2 2 C 20 14 10 6 4 3 3 2 2 2 2 14 10 6 4 3 3 2 2 2 2 10 6 4 3 3 2 2 2 6 4 3 2 2 2 4 3 2 2 2 3 2 2 2 2 2 2 V 256 112 80 48 32 20 14 10 6 4 4 3 3 3 2 2 48 32 20 14 10 6 4 4 3 3 3 2 2 14 10 6 4 3 3 3 2 2 10 6 4 3 3 3 2 2 6 4 3 3 3 2 2 4 2 2 2 2 2 2 2 2 2 2 208
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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
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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 175 and 176: Figure 3.17. Spectrograph of Region
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 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 and 212: C’s first event, which remains di
Page 213 and 214: Chapter 4: Later Works and Concludi
Page 215: adherence to duration rows in piece
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
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
Page 271 and 272:
Recordings Institute for Sonology.
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