THE ELECTRONIC WORKS OF GYÖRGY LIGETI AND THEIR ...

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The net result of this rhythmic design is an exponential acceleration, as shown in the graph below, and while all of these durations are doubled in the finished work (as shown in the spectrograph above) this exponential curve shown in Figure 2.5 remains the same. Figure 2.5. Exponential Acceleration in Section B (Events / Sec.) Ligeti uses a quasi-serial matrix, transcribed in Figure 2.6, to define materials into categories and assign them to the events in this rhythmic design. The roman numerals on the vertical axis of this matrix refer to the type of attack, direction of the glissando, listed on the left-hand side, and on the right-hand side, the register. This will produce a stratified texture, where different types of events are consistently associated with a particular register; the continual up and down glissing will occur in the highest register, and the pizzicato glissando upwards (an upwards gliss with a sharp attack and quick decay) will always be in next register down. These registers do seem to overlap, and are treated with some flexibility in the finalized piece. 49
Figure 2.6. Quasi-Serial Matrix for Section B Each roman numeral will rotate through four categories of material, listed horizontally on the matrix. These range from compact to diffuse and indicated by arabic numerals. Each roman numeral can occur with sine tones (often arranged in harmonic or sub-harmonic spectra), 20 Hz filtered noise, third-filtered noise, or octave filtered noise. While the sounds in the four upper registers proceed from the most compact to the most diffuse, the lowest register proceeds in the opposite direction. The rate of the introduction of these different roman numerals also shares a sense of exponential expansion, beginning with restatements of the same material, before accelerating towards diverse materials. The first three events, are not only the most widely separated but are also all “pizzicato glissandi” (Type II) moving upwards; this makes the progression from compact to diffuse very clear across the beginning of Section 50
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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
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
Page 55 and 56: course of Event 2 is the effect of
Page 57: The duration scheme of Section B is
Page 65 and 66: mask this invariance, and perhaps m
Page 67 and 68: peaking at 1460 Hz. While this peak
Page 69 and 70: 2'38") dramatically reduces the rev
Page 71 and 72: Some of the invariant gestures whic
Page 73 and 74: Figure 2.11. Spectrograph of Sectio
Page 75 and 76: These angular glissandi fade in slo
Page 77 and 78: material was previously used, have
Page 79 and 80: etrograde of the louder, denser, an
Page 81 and 82: that brought the piece to its midpo
Page 83 and 84: Figure 2.15. Spectrograph of Anomal
Page 85 and 86: Figure 2.16. Anomaly Area 2, Materi
Page 87 and 88: Figure 2.17. Spectrograph of Retrog
Page 89 and 90: Figure 2.18. Anomaly Area 3, Materi
Page 91 and 92: schematic. Three-quarters of the wa
Page 93 and 94: the descent of this material, which
Page 95 and 96: Figure 2.21. Spectrograph of the In
Page 97 and 98: material, that in itself contains b
Page 99 and 100: 2 whereas before Section F dominate
Page 101 and 102: traditional pitch systems, such as
Page 103 and 104: demonstrates a thorough understandi
Page 105 and 106: 6 Karlheinz Stockhausen, Stockhause
Page 107 and 108: 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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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
Page 203 and 204:
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
Page 253 and 254:
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
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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