Abstract
This thesis is an analysis of Ligeti's Chamber Concerto for 13 instruments. It examines in detail the ordering of notes, particularly Ligeti's use of canon, and links the pitch organisation with other parameters, such as dynamics, instrumentation and rhythm, to demonstrate how musical textures are built up. The way in which these textures create the overall form of the piece is also discussed. The method used is a style of free, descriptive analysis, with the written notes linked to the aural effect of the music. The the3is is intended to be read in conjunction with the score.