Note how Ligeti starts from a very low register, at a very quiet dynamic (pianissimo) and with staccato articulation (0:24). The pedal in the left hand forms gradually from a fragmented rhythm until it unfolds in a continuous stream of staccato eighth notes (0:42). Superimposed on this low A pedal is a rhythmic motif in the right hand (0:46). Ligeti shows here great mastery in rhythmic variation. This rhythmic fragment is created by accumulation and extension of a first cell which is elongated and then further fragmented in this fashion.
An example of this might be using Sibelius to augment students’ learning and practice within a Western section of their curriculum, but introducing digital worksheets, sound libraries, and notational software to learn about Indonesian gamelan composition. Students may discuss what is gained and lost in comparative studies, what shadows exist in traditional software related to microtonal and quartertonal notation, how sound libraries can skew our perceptions of orchestral roles, etc.