THE ELECTRONIC WORKS OF GYÖRGY LIGETI AND THEIR ...

much denser textures, the filtering of material ensures that only traces of the resultant
come through, and the texture is often sparser than in the first half. I will define the first
half as having six sections, labeled A through F. The timings of the first half’s sections
were carefully planned and result in an arrangement where most of Section D, which is
one quarter of the way through the piece, maps onto itself in the second half; Section E
combines with Section C, and bridges into Section B, and Section F overlaps with the rest
of Section B as well as Section A. This arrangement is shown below, schematically, in
Figure 2.1., a schematic diagram of the form.
Figure 2.1. Glissandi: Schematic Diagram of the Form
Additionally, a spectrograph of the entire piece provides an overview of these
sections and shows the clear changes in texture and material which define the sectional
boundaries of the first half. Section A uses parallel bands of narrowly filtered noise;
Section B uses various combinations of spectra and noise. Sections C and D use sparser
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