Abstract
Ligeti’s claim that his etudes are neither tonal nor atonal can be demonstrated with the functions of the fifths in the etude No. 8 “Fém.” The fifths are integrated into the musical relationships partly in a traditional and partly in a modern manner. Customarily, the interval of a fifth is added to single tones in order to establish tonal spaces and implying fundamentals. A peculiarly modern aspect is the use of fifths as parts of the overtone series.
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