Diss.--Berlin--Technische Universität, 1992. / Bibliogr. p. 292-296. Catalogue des oeuvres p. 264-291.

Thesis (M.M.)--Bowling Green State University, 2006. / Document formatted into pages; contains vi, 63 p. : ill., music. Includes bibliographical references.

Thesis (D. M. A.)--Ohio State University, 2007. / Title from first page of PDF file. Includes bibliographical references (p. 79-81).

Diss.--Salzburg, 1998. / Bibliogr. p. 191-200.

Thesis (M.M.)--University of North Texas, 2002. / Includes bibliographical references (p. 78-80).

Diss.--Hamburg, 2000. / Liste des oeuvres de Ligeti p. 260-269. Bibliogr. p. 270-302.

This study examines the formation of a unique chromatic and formal language in Musica Ricercata by György Ligeti. The study begins by examining statements from an interview with Ligeti conducted by Ove Nordwall in 1979. The interview discusses his compositional experiments from the early 1950s, the period in which Musica Ricercata was composed. Working from Ligeti’s words, “simple structures” are defined as repeating formations of rhythms and intervals with easily discernable features. These features must be salient such that when the structure is altered, it is still clearly and audibly recognizable. The musical and political environment in Hungary at the time is established, providing context for this early experimentation with compositional parameters. The analysis begins with an overview of the entire work, outlining developments of pitch-class density, symmetrical pitch-class structures, and notated accelerandi over the course of the multi-movement work. Analyses of simple structures in each movement elucidate both Ligeti’s experimental approaches to chromaticism, along with more traditional aspects, with special reference to Bartók’s compositional style.

The Two Etudes: "Harmonies," and "Coulée" and the Volumina of Ligeti were performed following a lecture on avant-garde techniques in organ works of György Ligeti. The lecture included a brief discussion of earlier twentieth century antecedents of new sound materials and concepts, a biographical sketch of Ligeti and general style features of his works. The main body of the lecture included notational methods, specific style features, and performing scores of Ligeti's three organ works. In addition to the lecture recitals three other public recitals were performed which consisted of solo compositions for the organ.

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