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: 1980.. (1973-74), - - (1976) (1974-77) 1982. 198360. 1 1970.. 50/60,....,. 1978. 1978 4. 2 ). Deny Bouliane, Gy rgy Ligeti im Gesprch, Neuland Bd.5 (1984/5); Monika Lichtenfeld, Gesprch mit Gy rgy Ligeti, Neue Zeitschrift fr Musik 145 (1984); Mathias Hansen, Musik zwischen Konstruktion und Emotion, Musik und Gesellschaft 34 (1984).
22,., 50. 1977 (IRCAM) 1981 (Rpons). 50. (1969/70) (1973/74). 1970 -. (1979/80). 198360?..,,,,,,,. 80 :,,. 1980 (1912-1997)
: 1980 -.. 1.,?. 36 17:18:19:20 4, 37 12 12.,.,..,,,,. 1982. 1,,, ) 20,,. ) 70,. ) 1984 (1985), (1983).
22. < 1>,,. (abanazi abawuzi ). -, -. < 1> - ) 22 Kognitive Grundlagen afrikanischer Musik (Artur Simon, Musik in Africa, p.384), (Denys Bouliane, Imagin re Bewegung. Gy rgy Ligetis Etudes pour piano, MusikTexte 28/29 (1989), pp.73-84 ).
: 1980 abanazi 4.. 4.. 4.. 4.. 1.. 1.. 3.. 3.. 2.. 2.. 1.. 1.. abawuzi. 2 4. 1 3. 4 2. 2 4. 1 3. 5 2. 2 4. 1 3. 5 2. 2 4. 1 3. 5 2 1 4. 4 4. 3 4. 2 4. 4.. 3.. 2 3. 4 3. 3 2. 2 2. 4.. 3.. 2 2.... 1.. 4.... 1 1. 1 5..... 1.. 5.... 1 1. 1 5.,,..
22. 8 16,. 6,,. 45-50... =520~600 -, 1 8 14 ( ),.,.,.. 5,.. 3 29-30 2 - -,. -.
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: 1980 ( 5 78-80 ) 80. 60,., 19 ( )..,. ) 1962100 100 ( ), 1968 ( ). 70,,,.
22. 80.,. 1.. 1 12/84/4. 12/8 (3+3+3+2)+(3+3+3+4)+(2+2+2) = 30(2.5 ) 4/4 (8/8) (3+3+3)+(4+2+2)+(3+2+2) = 24(3 ) 8 ( ),. 4/4 12/8 1/24..,... 11+13+6 9+8+7, 30 24. 12/8 4/4,. ).. (Denys Bouliane, Stilisierte Emotion. Gyrgy Ligeti im Gesprch, MusikTexte 28/29 (1989), pp.52-53 ).
: 1980,. 1 4/44, 23. 16 (2 ) 8(3 ). (2+2+3+3+3)+(2+3+3+3) = 24(). 1, 104. 23, (2 1.5, 3 2 ),. 24 1311, 810 4+45+52+3+3 2+2+3+3,. 4,. 3 5 ( (16),. 3 8,, (Lamento) 1. )., espressivo.. ) 1980/90 ( ), ( )..
22 16... 16 /,,.,.. (mehrdimensional) 1. 3 60., 80 3. (1970). (,, ).. 1,. 4, 6, 2, 3, 5 5. ) Gyrgy Ligeti, Rhapsodische, unausgewogenen Gedanken ber Musik, besonders ber meine eigenen Kompositionen, Neue Zeitschrift fr Musik 154 (1993), p.25. ) (1973-74)
: 1980, 3.,,,, -. 1,.,.. 2.. 1 4, 2 3, 5. 1, 3 ( ).,.,,. ) Christian Martin Schmidt, Brennpunkt der Neuen Musik (K ln, 1977) p.69-114 (II. Die Dimensionen Zeit und RaumArnold Schnberg, Bernd Alois Zimmermann, Gy rgy Ligeti).
22. 80.. (Phasenverschiebung), 80. 4., ( 3).,. ( ),., - ( 4). ( 3 ).
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: 1980. -,. -,....,.,,,. 4. 1 4, 2 3, 2 4, 3 5 ( ).,,.,? hklmuwi@kornet.net :,,,,,
22 Deny Bouliane, Gy rgy Ligeti im Gesprch, Neuland V (1984/85), pp.72-90., Geronnene Zeit und Narration. Gy rgy Ligeti im Gesprch, Neue Zeitschrift f r Musik 149 (1988), pp.19-29., Stilisierte Emotion. Gyrgy Ligeti im Gesprch, MusikTexte 28/29 (1989), pp.52-62., Imaginre Bewegung. Gyrgy Ligetis Etudes pour piano, Musik Texte 28/29 (1989), pp.73-84. Wolfgang Burde, Gyrgy Ligeti. Eine Monographie (Z rich, 1993). Ulrich Dibelius, Gesprch ber sthetik (4. Mai 1993), ders., Gy rgy Ligeti. Eine Monographie in Essays (Mainz, 1994), pp.253-273. Hans Joachim Erwe, Interview mit Gy rgy Ligeit, Zeitschrift f r Musikpdagogik 11 (1986/11), pp.3-11. Constantin Floros, Gyrgy Ligeti. Jenseits von Avantgarde und Postmoderne (Wien, 1996). Detlef Gojowy, Gy rgy Ligeti ber eigene Werke. Ein Gesprch aus dem Jahre 1988, Constantin Floros u.a. (Hrsg.), Fr Gyrgy Ligeti. Die Referate des Ligeti- Kongresses Hamburg 1988 (Laaber, 1991), pp.349-363. J rgen Hartmut, Heinz-Otto Peitgen, Fraktaleeine neue Sprache f r komplexe Strukturen, Chaos und Fraktale (Heidelberg, 1989), pp. 106-118. Gerhard Kubik, Amadinda-Musik, Kognitive Grundlagen afrikanischer Musik, Artur Simon (Hrsg.), Musik in Afrika (Berlin, 1983), pp.139-165, pp.327-400., Subjektive MusterDie Entdeckung des Phnomens der 'inherent patterns' in den Kompositionstechniken einiger ostafrikanischer Musikformen, sterreicher Musikzeitschrift 44 (1989), pp.274-276. Lutz Lesle, Seeturm, Chaos, Teufelslieter. Gy rgy Ligeti im Gesprch nach seiner Amerikareise, Das Orchester 41 (1993), pp.784-788. Gy rgy Ligeti, Computer und KompositionSubjektive Betrachtungen, Tiefenstruktur der Musik. Festschrift zum 80. Geburtstag von Fritz Winckel (Berlin, 1987), 22-30., Zu meinem Klavierkonzert, Wolfgang Burde (Hrsg.), Komponistenportrait Gy rgy Ligeti. Programmbrosch re. 38. Berliner Festwochen 88 (Berlin, 1988), pp.53-56., Rhapsodische, unausgewogene Gedanken ber Musik, besonders ber meine eigenen Kompositionen, Neue Zeitschrift fr Musik 154 (1993), pp.20-29. Heinz von Loesch, Eine fraktale Seeperdchen-Etde. Gy rgy Ligeti und die Chaosforschung, Positionen 11 (1992), pp.7-11. Heinz-Otto Peitgen, Hartmut J rgens, Dietmar Saupe, Chaos. Bausteine der Ordnung, (Berlin-Heidelberg, 1994). Christian Martin Schmidt, Brennpunkt der Neuen Musik, K ln, 1977. Hannes Sch tz, Musik und Chaostheorie. Gedanken zu Ligetis Klavieretde Nr.1 D sordre, Musica 50 (1996), pp.170-176. Stephen A. Taylor, Chopin, Pygmies, and Tempo Fugue: Ligetis Automne a Varsovie, Music Theory Online Vol. 3.3 (May 1997). Richard Steinitz, Music, maths & chaos, The Musical Times 137 (1996/3), pp.14-20., The Dynamics of disorder, The Musical Times 137 (1996/5), pp.7-14., Weeping and wailing, The Musical Times 137 (1996/8), pp.17-22. /,. ( :, 1993)., -1 47(, 2000), 33-55., 60 8(, 2001), 421-455.
: 1980
22 Polyrhythm and Order of Disorder: Ligetis Musical Thought in the 1980s Heekyung LEE It is well-known that Ligeti is the one who is inquisitive about everything around him. He has been interested in various concepts from different area like literature, paintings and natural science for a long time. After he had achieved his own style by the static form and the micropolyphony in the 1960s, he ought to seek an another compostional terrain as he didn't want to imitate his own style. In the late 1970s he seemed to be in a crisis of creation, actually he didn't complete just one piece at that time. In search of the new compositional ideas he was stimulated by different things, in particular by the music for player piano of Conlon Nancarrow, by the African polyphony music in the Sub-Sahara and by the fractal geometry and the chaos theory. Finally, he could realise his new musical thought in a original way and his compositions in the 80s were created in a unique way. The purpose of this paper is to examine Ligetis musical thought in the 80s by analysing the representative piece of his late music, Piano Concerto as a case in point. In the first part it is explained about the three important stimulations by which Ligetis late style was influenced and about in which way his new musical thought was built. The latter part deals with his late musical style defined by the chaosmos in details.