THE ELECTRONIC WORKS OF GYÖRGY LIGETI AND THEIR ...

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Having divided the individual durations into groups whose sums reflected the above proportions, Ligeti went about arranging these into an order which would produce the musical surface of Apparitions. Here Ligeti proceeds statistically, and probably somewhat intuitively, rather than by any serial ordering. Table 4.4 shows that is some modification of the numbers at this point–the upper row of numbers comes directly from the numbers shown in Table 4.2-A, the lower row shows the values Ligeti will actually employ in the piece. The modifications are most likely to avoid repetition which could lead to some sort of periodicity or even a brief feeling of meter, and also to increase the variety of rhythmic units, including numbers like 1 and 7 which were not part of the original scheme. Where Ligeti subtracts from one value, however, he adds this amount to another, so that the sums and their underlying proportions remain unchanged. Table 4.4. Rhythmic Scheme for Apparitions, mvt. 1, Section A A 160 48 20 80 32 14 20 32 10 20 14 6 10 14 14 160 56 16 80 28 12 20 32 12 16 14 6 10 16 12 10 6 4 10 4 6 3 2 3 4 6 3 4 6 2 2 4 3 2 3 2 2 10 6 4 12 5 7 3 1 4 5 6 2 3 7 2 1 5 4 1 2 1 4 This numerical scheme corresponds to the reduced score example given found in Figure 9 4.1. This reduced score gives only the type of instrument or instruments playing and the nd total duration as both a note value and a number of 32 notes. In this reduction the rhythmic design of this section of the piece becomes quite clear. However some of the decisions Ligeti made in devising these details, and the aesthetic concerns they entail 9cf. György Ligeti, Apparitions (Vienna: Universal Edition, UE 18326, 1964), 1-2. 211
demand further reflection. For instance, as you can see in Figure 4.1, his design corresponds to the initial attacks of each cluster; some of the attacks do not fill up the entire span, while others carry over past the next attack point. In each stage of the realization of this portion of Apparitions, the composer allows himself certain liberties. First, in the large scale distribution, Ligeti altered the strict balance of his initial distribution to create large sections in certain proportions, as shown in Table 4.3. Within these proportions, by leaving the specifics of ordering open, he allows himself the flexibility to achieve a specific aesthetic goal. The composer noted that the piece begins with a carefully balanced state, which is then disturbed by the more impulsive events until, “the network is irrevocably changed; the stationary sounds heretofore only weakly stirred by internal vibrations, are now crumpled. Trills and tremolos animate the sounding masses, and a continually irregular fluctuation of the dynamics hinders the 10 retrieval of any equilibrium.” The outer sections contain a mixture of longer and shorter durations, while the inner sections contain mostly shorter ones; these are arranged in the piece, first to effect a gradual acceleration through part A, then to create a more turbulent area through parts B and C, and finally to bring about fierce juxtapositions in the final section, where long sustained clusters are interrupted by chaotic passages, labeled “wild” in the score. 10 György Ligeti, “States, Events, Transformations,” trans. Jonathan Bernard, Perspectives of New Music, Vol. 31, No. 1, 167. 212
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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
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Conclusions (Stage I) Thus, at the
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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 and 216: adherence to duration rows in piece
Page 217 and 218: equal to 256 thirty-second notes gi
Page 219: Table 4.3b. A B C V 585 390 195 585
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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