THE ELECTRONIC WORKS OF GYÖRGY LIGETI AND THEIR ...

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While such speeds are easily achieved in the electronic music studio, the limitations of acoustic instruments make this impractical, to say the least. Ligeti has acknowledged this fact: “Since you cannot play an instrument fast enough to produce a succession of 13 notes at a rate of twenty per second, I built the rhythmic shifts into the music.” And while he goes on to mention Atmosphères as a specific example of these rhythmic shifts, one need look no farther than Apparitions. In the second movement of Apparitions, one finds rhythmic shifts of the type that Ligeti identifies. For instance, in measure 17 of this movement (see Figure 4.2) the cross rhythm of 10 against 9 occurs in the violins. The second violins, playing 10 subdivisions at a metronome marking of half-note = 40 (or quarter-note = 80) produce, 13.33 attacks per second. The first violins, playing 9 subdivisions will reproduce only the first attack, since there is no common factor between 10 and 9, and these two patterns will coincide only at this point. The total number of independent attacks comes to 18 per quarter-note, or an average of 24 per second, truly exceeding the limit of blurring. The different groupings of violins also share part of the same range, in which it will be impossible to perceive the individual instruments playing the notes, let alone discern any lines moving within this cluster. All of these calculations are based on strictly accurate renditions, but Ligeti seems to be inspired by instrumental mistakes, even counting on their occurrence. He cites a precedent, which he realized retrospectively in Wagner, of all composers, saying, “the string parts at the end of Walküre (Feuerzauber) are such that no violonist 13 Ligeti, Ligeti in Coversation, 40. 217
[sic] can play them, all of them make mistakes, different mistakes all the time. These mistakes add up and create a floating, fluctuating pattern, i.e. Bewegungsfarbe. 14 15 Technically, Atmosphères is based on the same principle.” See Figure 4.2 Figure 4.2. Score of Apparitions, mvt. 2, mm. 17-18 14 Ligeti, Ligeti in Conversation, 40. 15 György Ligeti, Apparitions (Vienna: Universal Edition, UE 18326, 1964), 12. Reproduced with permission. 218
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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
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Table 3.11. Table of Oppositions fo
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and very clear dynamic gestures-cre
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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
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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 199 and 200: Table 3.15. Table of Oppositions fo
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: Ligeti’s experiences in the elect
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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