THE ELECTRONIC WORKS OF GYÖRGY LIGETI AND THEIR ...

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few measures after the cross-fading example, this gesture can be understood as a more advanced stage in the progression from stasis to motion. Here the individual parts each move once by a large leap, yet the whole sound creeps along continually, slowly, and with 22 difficulty. Figure 4.9. Score of Apparitions, mm. 62-64, with line graph This type of glissing sound was originally attempted in Ligeti’s unfinished, Pièce électronique no. 3, where, in fact, it constituted the predominant type of motion. A 22 György Ligeti, Apparitions (Vienna: Universal Edition, UE 18326, 1964), 4-5. Reproduced with permission. 233
spectrograph of a passage from near the end of that piece (Figure 4.10) demonstrates these glissandi both ascending and descending. Furthermore, this same technique can be found in later works such as Atmosphères. Ligeti produced a score for this piece which resembles this spectrograph in a remarkable number of ways. In his sketches, he also listed the succession of individual frequencies that could proceed directly from one to the next with no intervening rests. This would ensure optimum efficiency in recording these tones onto tape, and it also grouped these pitches and durations into individual lines and assigned them to a single production source–that is to a single “voice”–in a way directly analogous to the lines that each individual instrument plays in passages such as that shown above in Figure 4.9. This treatment of instruments in the manner of sine-tone generators is by no means incidental. With other, slower, glissandi in Pièce électronique no. 3, the desired effect is slightly different, despite the similarity in construction. The sine tones used in Pièce électronique no. 3 were most likely the result of Stockhausen’s influence, and the pervading ideology of the Cologne Studio that the additive synthesis of sine tones (along with filtered white noise) should be able to produce any conceivable sound. In conversation with Peter Varnai, Ligeti explains that, my idea was that a sufficient number of overtones without the fundamental would, as a result of their combined acoustic effect, sound the fundamental... I planned to make music out of pure sine-waves with harmonic and subharmonic combinations, by introducing [these sounds] gradually, not all at once. I imagined that slowly, different composite sounds would emerge and slowly fade away again like shadows... When I tried to do all that in the studio, it turned out to be a quite 234
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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
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LIST OF TABLES Table 3.1. Artikulat
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Figure 3.16. Spectrograph of Region
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There are many reasons to suspect t
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were influential in the musical thi
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8 minutes.” Steinitz points to on
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employment as part of the musical d
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with pages of Ligeti’s sketches,
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of Glissandi. Since Stroppa’s fir
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specific piece or to address a spec
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generate spectrographs using the Sp
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30Robert Morris, Composition with P
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Each of these oppositional pairs de
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composed for four channels of elect
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This method of calculating the stre
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harmonic categories that was common
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etween three-object sets; a move fr
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qualities described by his system o
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Chapter 2: Analysis of Glissandi Li
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sectional, this work is also organi
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frequencies will not be exact, but
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much denser textures, the filtering
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nd Figure 2.2b. Glissandi, Spectrog
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added my section labels and timings
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Figure 2.3. Spectrograph of Section
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course of Event 2 is the effect of
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The duration scheme of Section B is
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Figure 2.6. Quasi-Serial Matrix for
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mask this invariance, and perhaps m
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peaking at 1460 Hz. While this peak
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2'38") dramatically reduces the rev
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Some of the invariant gestures whic
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Figure 2.11. Spectrograph of Sectio
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These angular glissandi fade in slo
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material was previously used, have
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etrograde of the louder, denser, an
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that brought the piece to its midpo
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Figure 2.15. Spectrograph of Anomal
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Figure 2.16. Anomaly Area 2, Materi
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Figure 2.17. Spectrograph of Retrog
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Figure 2.18. Anomaly Area 3, Materi
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schematic. Three-quarters of the wa
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the descent of this material, which
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Figure 2.21. Spectrograph of the In
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material, that in itself contains b
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2 whereas before Section F dominate
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traditional pitch systems, such as
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demonstrates a thorough understandi
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6 Karlheinz Stockhausen, Stockhause
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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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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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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
Page 191 and 192: Stage III into three regions of one
Page 193 and 194: Figure 3.22. Spectrograph of Region
Page 195 and 196: direction within this span. The rig
Page 197 and 198: Region L The sounds of Region L are
Page 199 and 200: Table 3.15. Table of Oppositions fo
Page 201 and 202: decrescendo gesture in the right an
Page 205 and 206: Coda: This silence prepares the fin
Page 209 and 210: introduce noisier, diffuse sounds.
Page 211 and 212: C’s first event, which remains di
Page 213 and 214: Chapter 4: Later Works and Concludi
Page 215 and 216: adherence to duration rows in piece
Page 217 and 218: equal to 256 thirty-second notes gi
Page 219 and 220: Table 4.3b. A B C V 585 390 195 585
Page 221 and 222: demand further reflection. For inst
Page 223 and 224: Figure 4.1. Duration Scheme for App
Page 225 and 226: Ligeti’s experiences in the elect
Page 227 and 228: [sic] can play them, all of them ma
Page 229 and 230: Hungary, their particular employmen
Page 231 and 232: One may note the similarity in thes
Page 233 and 234: Stockhausen also permutes dynamic l
Page 235 and 236: proceeded from lowest to highest, h
Page 237 and 238: Figure 4.5b. Spectrograph of Appari
Page 239 and 240: of “dry [i.e. unreverberated] imp
Page 241: diatonic material, crescendo to a p
Page 245 and 246: illusory idea, unfeasible. It dawne
Page 247 and 248: The degree of alignment of the desi
Page 249 and 250: fact that the arching middle sectio
Page 251 and 252: compact and diffuse material and sp
Page 253 and 254: Figure 4.12. Spectrograph of Pièce
Page 255 and 256: Figure 4.13. Spectrograph of Atmosp
Page 257 and 258: hand column of the chart below, the
Page 259 and 260: 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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