THE ELECTRONIC WORKS OF GYÖRGY LIGETI AND THEIR ...

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Toop, Richard. “‘Are You Sure You Can’t Hear It?”: Some Informal Reflections on Simple Information and Listening.” In The Pleasure of Modernist Music: Listening, Meaning, Intention, Ideology, ed. Arved Ashby, 223-49. Rochester: Rochester University Press, 2004. Toop, Richard. György Ligeti. London: Phaidon Press, 1999. Toop, Richard. “On Complexity.” Perspectives of New Music 31, no. 1 (Winter 1993): 42-57. Toop, Richard. “Stockhausen and the Sine-Wave: The Story of an Ambiguous Relationship.” Musical Quarterly XLV, no. 3 (July 1979): 379-91. Toop, Richard. “Stockhausen’s Electronic Works: Sketches and Work-Sheets from 1952- 1967. Interface, Vol. 10 (1981): 149-97. Toop, Richard. “Stockhausen’s Konkrete Etüde.” The Music Review (November 1976): 295-300. Trythall, Gilbert. Principles and Practice of Electronic Music. New York: Grosset & Dunlap, 1973. Ungeheuer, Elena. “From the Elements to the Continuum: Timbre Composition in Early Electronic Music.” Contemporary Music Review 10, no. 2, (1994): 25-33. Ungeheur, Elena. Wie die elektronishce Musik ‘erfunden’ wurde...: Quellensudie zu Werner Meyer-Epplers musikalischem Entwurf zwischen 1949 und 1953. Kölner Schriften zur Neuen Musik 2, Johannes Fritsch and Dietrich Kämper, eds. Mainz: Schott, 1992. Wehinger, Rainer. Ligeti – Artikulation: Electronische Musik, eine Hörpartitur. Mainz: Schott, 1970. Wehinger, Rainer and Thomas Kabisch, eds. Analysieren und Horen neuer Musik: Karkoschka Festschrift, Musiktheorie 12, no. 1, (1997). Wessel, David L. “Timbre Space as a Musical Control Structure.” Computer Music Journal 3, no. 2 (1979): 45-52. Williams, Alastair. New Music and the Claims of Modernity. Brookfield: Ashgate Publishing, 1997. 261
Recordings Institute for Sonology. His Master’s Noise. BVHAAST CD 06/0701. Compact Disc. Institute for Sonology. Cologne–WDR. BVHAAST CD 9106. Compact Disc. Koenig, Gottfried Michael. Gottfried Michael Koenig. BVHAAST CD 9001. Compact Disc. Ligeti, György. Continuum, Zehn Stück für Bläserquintet, Artikulation, Wergo 60161-50. Compact Disc. Ligeti, György. The Ligeti Project II. Teldec Classics 8573-88261-2. Compact Disc. Stockhausen, Karlheinz. Elektronische Musik 1952-60. Stockhausen Complete Edition, Vol. 3, 1991. Compact Disc. Stockhausen, Karlheinz. Gruppen; Carré. Stockhausen Complete Edition, Vol. 5, 2000. Compact Disc. Scores Koenig, Gottfried Michael. Essay: Komposition für elektronische Klänge, 1957. Partitur zugleich technische Arbeitsanweisung. Vienna: Universal Edition, 1960. Ligeti, György. Apparitions. Vienna: Universal Edition, 1964. rd Ligeti, György. Atmosphères: für grosses Orchester ohne Schlagzeug, 3 ed. Vienna: Universal Edition, 1971. Ligeti, György. Éjszaka, Reggel. Mainz: Schott, 1973. Ligeti, György. Streichquartett No. 1: Métamorphoses nocturnes. Mainz: Schott, 1972. Ligeti, György. Musica Ricercata. Mainz: Schott, 1995. Ligeti, György. Volumina, für Orgel. New York: H. Litolff, 1967. Ligeti, György. Zwei Etüden für Orgel. Mainz: Schott, 1969. Stockhausen, Karlheinz. Gesang der Jünglinge: Elektronische Musik (1955-56): Werk Nr. 8. Kürten: Stockhausen Verlag, 2001. 262
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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
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Figure 3.18. Spectrograph of Transi
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Patterning within Region H Globally
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further subdivide Event 3 into 3 pa
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Dynamic gestures form similarly com
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synthesized by Event J2's final ele
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Stage III into three regions of one
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direction within this span. The rig
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Region L The sounds of Region L are
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decrescendo gesture in the right an
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Coda: This silence prepares the fin
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introduce noisier, diffuse sounds.
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C’s first event, which remains di
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Chapter 4: Later Works and Concludi
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adherence to duration rows in piece
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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
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: Salllis, Friedemann. An Introductio
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