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As a composer Ungvary was influenced by Györgi Ligeti, Iannis Xenakis and the Swedish computer music pioneer Jan W. Morthenson.

Tamas Ungvary, 1995

Ungvarys intention is to create music, that evokes an orchestral sound without the use of traditional musical instruments, but also without imitating the usual orchestra instruments. Many of his works originate from the tension between statics and dynamics of the sound material. Whenever Ungvary combines traditional instruments with computer sounds, he often directs the electronic versus instrumental sounds from a mergence into a supplementation. Furthermore, Ungvary tries to provide the player with a sense of freedom through strange notations, but at the same time tries to force him to a very well-defined textual, structural and musical style and expression. Ungvarys special interest is the exploration of the possibilities which are able to solve the obvious communication problems between computers and humans and to develop means of interpretation that already exist in the instrumental music. For this reason, he developed his own computer languages (compositional computer languages), used and designed new input devices with which he tries to solve the mentioned problem in his compositional works.

Choice from reviews

My simultaneous preoccupation with displaying problems of human movement (choreographic notation) and the desired communication between sound motion and physical motion systems (choreography) has updated the sonographic representation. [...] If the sonogram is the image of music, then why can't a part or a region be removed, which fits the range of an instrument, and then overlaps this sonogram with a five-line system as a guideline. It shows immediately [...] that the visual information is too much for one musician. It is simply "black", no clear shape can be detected. This is why I have developed a new program, which filters the original sonogram and displays only the strongest elements. The picture is then less complex. The musicians don't have to consider the visual designs as notes, but as shapes, directions in various areas - in the pitch area, the volume space and in the tone colour room of their instruments. In 'DIS-DANCE' - my first work with this notation - I combined a chamber orchestra with the sounds of electro-acoustic music, from which the notation emerged. In 'SONO-LOGOS', a duo for a keyboard instrument and a melody instrument, I let this notation work autonomously on a musical-graphic level. [...]

Tamas Ungvary, in an interview with Dieter Kaufmann, in: "DIS-TANZ. Die Entwicklung einer neuen Notation als Medium von Analyse, instrumentaler Animation, Choreographie und intermedialer Kommunikation", in: Musik &. - Wien 1992, S. 168, 171, 173ff.