THE ELECTRONIC WORKS OF GYÖRGY LIGETI AND THEIR ...

peaking at 1460 Hz. While this peak is close to the lowest point of the upper line, these
points are far removed in time, and at no point does either of these tones cross into the
ambit of the other.
While Section C was the softest section, and thus represented a minimum point in
intensity, Section D is the sparsest in attack strength and in spectral density. Thus while
Section C shared material with Section B, and Section D’s material will continue into
Section E–and it would seem that this would create a strong division between Sections C
and D–however, these intervening sections share common features in reduced attack
strength, intensity, and spectral density, and have a certain cohesion of their own, thus
smoothing out the change in material and helping the form unfold more organically. In
fact the gradual build up of volume from Section C to Section D is the beginning of the
third stage of growth which will carry the piece to its midpoint, and here, as elsewhere, the
beginning of this accretion is slowly paced, before giving way to rapid acceleration.
Section E.
Section E, which runs from 2'05" to 2'38", takes the homogeneous sine tones of
Section D, treats them with reverberation, and adds a mixture of other materials, including
symmetrical, invariant gestures made of filtered noise, and also the addition of white noise.
I will define Event 1 as 2'05"-2'12", in which these invariant gestures are predominant; In
Event 2 (2'12"-2'26.5") the sine tones reemerge as the predominant material, although
now with heavy reverberation and white noise in the lower register. Event 3 (2'26.5" -
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