THE ELECTRONIC WORKS OF GYÖRGY LIGETI AND THEIR ...

While Event 2 of Section E used sine tones in combination with white noise; the outer
events of Section E used predominantly invariant gestures. Thus the material from
Section E which was used earlier was the more directionally distinct material, while the
material used here is symmetrical, including the nearly-symmetrical gesture which
originally spanned the border between Events 1 and 2. In this way the previous,
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directional material helps reinforce the shape of Section F while the symmetrical material
appears here in a more ambiguous state.
The first stage of the second half of the piece comes to an end with the third
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anomaly area, from 5'24" to 5'33", coinciding with the end of Section E . This final
anomaly uses material from the retrograde of Section A–bands of 20 Hz noise aligned into
downward glissandi, the invariant axis is now at 5'29.5" and the downward direction of
the subsequent glissandi indicate the retrograde form, brings this section to an end and
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overlaps with the beginning of Section D . This anomaly is also transposed up an octave
to the range between 100 and 2400 Hz., as shown in Figure 2.18.
The fact that the A based anomaly occurs at this point of intersection illustrates
another feature of all of these anomalies. In the schematic form of the piece, Section A
will coincide only with Section F, and share a border with only Section B. The Section A
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Anomaly coincides with Sections E and D as well as the overlapping Section C , and
thus all of the sections with which A would not normally overlap or share a border.
Similarly the area of paired anomalies earlier in the piece provides another opportunity for
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material from Sections E and D to be combined with material from Sections A and B as
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