THE ELECTRONIC WORKS OF GYÖRGY LIGETI AND THEIR ...

These angular glissandi fade in slowly, and doing so, help prepare the entrance of
Event 3 at 1551 Hz. At 3'17", shortly after the entrance of these slow glissandi, extremely
rapid glissandi begin fluctuating in the register below 1470. These continue the trend set
by Event 2 of having the speed of glissandi increase in the register occupied by the slow
glissandi of the previous event. This acceleration helps the texture build towards noise,
and as Event 4 continues these fast glissandi, it also introduces wider bands of noise
focused in the lower register (particularly strong in the octave between 150 and 300 Hz).
Event 5 continues these bands of noise and introduces material at 11250 Hz, the
highest register yet heard. Underneath this new material, however, Event 5 cuts off the
range from 1300 to 4735 Hz–the intervening register which Event 3's material first
occupied. This cut-off breaks with the previous trend of accelerating the glissandi in the
range below the newly introduced material, but simultaneously highlights the low noise
bands which can be seen as the culmination of this process of acceleration. The
momentary respite is quickly filled by Event 6 which introduces the combination of low
glissandi moving primarily upwards, high glissandi moving downwards, and white noise
across all registers. While this noise can be seen as the end result of chaotic patterns of
accelerating glissandi, the glissandi themselves are now more ordered than the previous.
The glissandi of Event 6 are arranged by register and often appear in harmonic
combinations (at 3'38", for example, the frequencies, 766, 1514, 2278, and 3078 Hz
appear, very close to the ideal 766, 1532, 2298, 3064 Hz) which suggest a higher degree
of coordination than characterized previous material. This is undercut by the clipping of
material, which continues to articulates the acceleration of subdivisions towards the
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