Abstract
When Gyorgy Ligeti turned away, beginning in 1965, from the supersaturated chromaticism that had dominated his work for nearly a decade, he brought pitch interval into an increasingly prominent structural role. The development of Ligeti's method is studied, through several newly defined intervallic transformations, in his works of the 1970s, including Melodien (1971), the Double Concerto (1972), Clocks and Clouds (1973), San Francisco Polyphony (1974), Three Pieces for Two Pianos (1976), and Le Grand Macabre (1977). This content downloaded from 207.46.13.33 on Wed, 12 Oct 2016 04:55:18 UTC All use subject to http://about.jstor.org/terms Ligeti's Restoration of Interval and Its Significance for His Later Works 31 Example 17b. Passacaglia, mm. 1-10, graph
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