THE ELECTRONIC WORKS OF GYÖRGY LIGETI AND THEIR ...

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growing field, including discussion of musical timbre, different means of notation, and in particular, the work of theorist Robert Cogan. Chapters 2 and 3 are analytical studies of Ligeti's finished tape piece, using spectrographs and information from Ligeti's sketches to focus on the use of sonic material in the construction of form. Additionally each study is put in the context of Ligeti’s contemporaries, composers such as Karlheinz Stockhausen and Gottfried Michael Koenig, as well as figures such as the philosopher T.W. Adorno. The fourth and final chapter focuses on the historical chain of influence and examines some of Ligeti’s instrumental music, particularly Apparitions, in light of the their electronic precedents. These examples illuminate connections between the electronic and instrumental, ranging from the slightest nuances in individual gestures–many of which are translated directly from one medium to the other–to methods of constructing entire forms, which continue to appear throughout Ligeti's oeuvre; thus, the final aim of this dissertation is to provide groundwork for further studies which will deepen the understanding of other works by this innovative composer.
THE ELECTRONIC WORKS OF GYÖRGY LIGETI AND THEIR INFLUENCE ON HIS LATER STYLE by Benjamin Robert Levy. Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2006 Advisory Committee: Professor Thomas DeLio, Chair Professor Lawrence Moss Professor Robert Provine Professor Mark Wilson Professor Peter Beicken
Page 1: ABSTRACT Title of Dissertation: THE
Page 5 and 6: ACKNOWLEDGMENTS I would like to ack
Page 7 and 8: LIST OF TABLES Table 3.1. Artikulat
Page 9 and 10: Figure 3.16. Spectrograph of Region
Page 11 and 12: There are many reasons to suspect t
Page 13 and 14: were influential in the musical thi
Page 15 and 16: 8 minutes.” Steinitz points to on
Page 17 and 18: employment as part of the musical d
Page 19 and 20: with pages of Ligeti’s sketches,
Page 21 and 22: of Glissandi. Since Stroppa’s fir
Page 23 and 24: specific piece or to address a spec
Page 25 and 26: generate spectrographs using the Sp
Page 27 and 28: 30Robert Morris, Composition with P
Page 29 and 30: Each of these oppositional pairs de
Page 31 and 32: composed for four channels of elect
Page 33 and 34: This method of calculating the stre
Page 35 and 36: harmonic categories that was common
Page 37 and 38: etween three-object sets; a move fr
Page 39 and 40: qualities described by his system o
Page 41 and 42: Chapter 2: Analysis of Glissandi Li
Page 43 and 44: sectional, this work is also organi
Page 45 and 46: frequencies will not be exact, but
Page 47 and 48: much denser textures, the filtering
Page 49 and 50: nd Figure 2.2b. Glissandi, Spectrog
Page 51 and 52: added my section labels and timings
Page 53 and 54:
Figure 2.3. Spectrograph of Section
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course of Event 2 is the effect of
Page 57 and 58:
The duration scheme of Section B is
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Figure 2.6. Quasi-Serial Matrix for
Page 61 and 62:
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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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Figure 3.7. Spectrograph of Region
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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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Page 177 and 178:
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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Page 195 and 196:
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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Page 205 and 206:
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
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Table 4.3b. A B C V 585 390 195 585
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demand further reflection. For inst
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Figure 4.1. Duration Scheme for App
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Ligeti’s experiences in the elect
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[sic] can play them, all of them ma
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Hungary, their particular employmen
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One may note the similarity in thes
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Stockhausen also permutes dynamic l
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proceeded from lowest to highest, h
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Figure 4.5b. Spectrograph of Appari
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of “dry [i.e. unreverberated] imp
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diatonic material, crescendo to a p
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spectrograph of a passage from near
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illusory idea, unfeasible. It dawne
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The degree of alignment of the desi
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fact that the arching middle sectio
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compact and diffuse material and sp
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Figure 4.12. Spectrograph of Pièce
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Figure 4.13. Spectrograph of Atmosp
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hand column of the chart below, the
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hythmic design of stasis as well as
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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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