ABSTRACT
In the main part of this book, György Ligeti has been called upon a great number of times as a representative of experimental thought with a clearly personal “sound” based on a good deal of musicality. The following pages may serve as a primer for those who have never looked into his works, for the choice of the ninth piece of the Ten Pieces for Wind Quintet (completed in 1969) is what one may call a didactic example of Ligeti’s style. We will try to show how Ligeti has replaced melody with what might be called a timbral weaving. To do this Ligeti’s personal combination of contemporary counterpoint and harmony (simultaneities) will be described. His conscious avoidance of the beat will also be demonstrated. When this is done, the major Ligeti terms “micro-polyphony” and “movement types” will be presented before a few hints to the listener are provided in the final section.
