Inaudible Structures, Audible Music: Ligeti's Problem, and His Solution Author(s): Jonathan W. Bernard Source: Music Analysis, Vol. 6, No. 3 (Oct., 1987), pp. 207-236 Published by: Wiley Stable URL: https://www.jstor.org/stable/854203 Accessed: 03-09-2018 01:15 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
[email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Wiley is collaborating with JSTOR to digitize, preserve and extend access to Music Analysis This content downloaded from 129.74.250.206 on Mon, 03 Sep 2018 01:15:23 UTC All use subject to https://about.jstor.org/terms JONATHAN W. BERNARD INAUDIBLE STRUCTURES, AUDIBLE MUSIC: LIGETI'S PROBLEM, AND HIS SOLUTION Not long after his emigration to the West in 1956, Gy6rgy Ligeti decided to challenge a well-established compositional trend. Ligeti is known today as one of a relatively small number of composers who in the late 1950s sought viable alternatives to post-Webernian serialism, and it is no exaggeration to say that, nowadays, when aside from a handful of undisputed masterpieces much of what was written during the serialist era seems hopelessly dated, Ligeti's music from about the same time sounds as fresh and original as ever.