We must realize that Ligeti was working in the Hungary, in (almost) total isolation from the rest of the continent, where Schoenberg, Berg, Webern, and later Boulez and Stockhausen were using serial techniques to find a way to detach modern music from the “tyranny” of the Western tonal system. Ligeti approached the same problem from an apparently antithetical standpoint (using one note instead of a fixed series of twelve pitches), yet focusing on the other parameters of music in order to create direction and growth.
New wave and post-punk era bassists did a lot of single-note chugging on root notes of chords. No offense to them; it’s what the music called for. As a consequence, bass players in those genres, like Peter Hook, Adam Clayton, and John Taylor, tend to be pretty underrated. But those minimalist bass parts actually did allow room for some subtle fill-ins to really stick out.