THE ELECTRONIC WORKS OF GYÖRGY LIGETI AND THEIR ...

B–an aspect of the opening which adumbrates the trend of the section towards greater
density. After this point, the Type II pizzicato glisses alternate with their descending
counterparts, Type IV. After 2 Type IV events, Type III, (a single gesture glissing
downward then back up) is introduced, and after only one Type III event, Type I enters.
The low register events of Type V (which have characteristics similar to Type III) do not
share the compact to diffuse direction with the other types and also enter substantially
later in the series. The order of the introduction of events is given below.
3 2 1 1
II1 II2 II3 IV1 II4 IV2 III1 I1
While the arrangement of materials in a matrix such as the one found in Section B
suggests the influence of serial thought on Ligeti, there are also elements of more
traditional composition in this section of Glissandi. The calculation of time in seconds,
rather than in centimeters as one finds in the later tape pieces suggests a connection with
traditional time measurement, and in particular with that of Bartók who often timed the
sections of his pieces in seconds as well as measures–the use of Fibonacci numbers also
recalls Bartók. Ligeti’s reference to traditional instruments in defining his sounds, and in
particular the label “pizzicato glissando” found in categories II and IV also suggests a
thinking in terms of orchestral instruments. Finally, the choice of actual frequencies
includes many traditional pitches, most strikingly A 440 at 1'00" (event IV-1).
Section C.
Section C lasts from 1'24" to 1'48" and consists of the same materials as in Section
B; heavy filtering, however, differentiates Section C from the previous section. In fact,
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