György Ligeti wrote a five-part double fugue for his "Requiems second movement, the Kyrie, in which each part (SMATB) is subdivided in four-voice "bundles" that make a canon. The melodic material in this fugue is totally chromatic, with melismatic (running) parts overlaid onto skipping intervals, and use of polyrhythm (multiple simultaneous subdivisions of the measure), blurring everything both harmonically and rhythmically so as to create an aural aggregate, thus highlighting the theoretical/aesthetic question of the next section as to whether fugue is a form or a texture. According to Tom Service, in this work, Ligeti