||The dissertation is in two parts, a theoretical study and a musical composition. In Part I the music of György Kurtág is analyzed from the point of view of sound color. A brief description of what is understood by the term sound color, and various ways of achieving specific coloristic effects, are presented in the Introduction. An examination of Kurtág's approaches to the domain of sound color occupies the chapters that follow. The musical examples that are analyzed are selected from Kurtág's different compositional periods, showing a certain consistency in sound color techniques, the most important of which are already present in the String Quartet, Op. 1. The compositions selected for analysis are written for different ensembles, but regardless of the instrumentation, certain principles of the formation and organization of sound color remain the same. Rather than relying on extended instrumental techniques, Kurtág creates a large variety of sound colors using traditional means such as pitch material, register, density, rhythm, timbral combinations, dynamics, texture, spatial displacement of the instruments, and the overall musical context. Each sound color unit in Kurtág's music is a separate entity, conceived as a complete microcosm. Sound color units can either be juxtaposed as contrasting elements, forming sound color variations, or superimposed, often resulting in a Klangfarbenmelodie effect. Some of the same gestural figures (objets trouvés) appear in different compositions, but with significant coloristic modifications.