Analytical Objectives and Methodology
I. The revision of Nordwall's work catalogues
II. English translations of articles, reviews and critiques written by Ligeti and published in Hungary
II. Kis szerenád [Little Serenade]
Source and Background Information
Contrapunctal Technique in Structure and Form
III. Weöres-dal [Weöres Songs]
Source and Background Information
The songs for solo Voice and Piano
Három Weöres-dal [Three Weöres Songs] and the unfinished song Nagypapa leszállt a tóba [Grandpa descended in the Pond]Conclusions
IV. Kantáta az ifjúság ünnepére [Cantata for a Youth Festival]
Source and Background Information
The Fracture of Ligeti's Æsthetic Terms of Reference
V. Analysis of a chain of five works
Source and Background Information: Rongszonyeg [Rag Carpet]
Szonatina for piano four hands
6 Bagatell fúvósötöre [Six Bagatelles for Wind Quintet]
Presentation of the Five Works as a Group
VI. Métamorphoses nocturnes [String Quartet no. 1]
Source and Background Information
Intermediate Form-building Processes
Formal Coherence and Ambiguity
Certain ,Tonal' Aspects of Métamorphoses nocturnes
The String Quartet among Ligeti's Early Works
VII. Éjszaka, Reggel [Night, Morning]
Source and Background Information
Formal Coherence of the Work as a WholeText/Music Relationship
VIII. Final Remarks and Conclusions
Ligeti and Dodecaphonic Technique: 1948-1956
Ligeti's Critique of Dodecaphonism (1955) and of Serialism (1958)
I. Text for the Kantáta az ifjúság ünnepére by Péter Kuczka
II. The Works for A Capella Choir
III. English Translations of Articles, Reviews and Critiques written by György Ligeti and published in Hungary