Gyorgy Ligeti의「Passacaglia ungherese」와「Hungarian Rock」의 분석ㆍ연구 : 리듬기법을 중심으로

이수연 이화여자대학교 대학원 2004 국내석사

제 1,2차 세계대전은 현대음악에 있어서 중요한 전환점이 되었다. 종전 후 작곡가들은 자신의 음악 어법과 새로운 양식을 개발하기 시작하였으며, 음악의 전통으로부터 한 걸음 더 나아감으로써 사회 변화에 민감한 음악적 재료와 상황이 전통적인 의미에서의 음악이라는 개념에 대한 재정립을 요구하였다. 그들은 종래 음악 문화를 지배해 왔던 작곡, 연주, 청취, 나아가서는 장르의 개념까지 뿌리째 흔들리게 한 것이다. 이러한 흐름 속에서 새로운 리듬, 음색에 대한 끊임없는 시도를 하였던 Gyo¨rgy ligeti(1923∼ ) 의 음악은 매우 중용한 의미를 갖는다. 본 논문에서는 Ligeti 의 쳄발로곡「Passacaglia ungherese」와 「Hungarian Rock」을 분석함으로써 Ligeti의 작품에서 나타난 그의 음악적 기법의 일면을 연구하는 것을 목적으로 한다. 본 논문은 분석에 앞서 여러 문헌과 악보를 통하여 Gyo¨rgy Ligeti의 음악에 나타난 리듬기법을 중심으로 살펴보고, 20세기 후반의 현대 음악의 특성이 잘 드러나는 건반 아기작품인 「Passacaglia ungherese」와 「Hungarian Rock」의 형식과 선율 및 화성구조, 주요음 진행 등 악곡의 음악적 측면을 분석한 내용으로 이루어져 있으며, 그 결과 다음과 같은 특징을 갖고 있음을 알수 있었다. Passacaglia ungherese의 형식은 리듬의 발전형태에 따라 3부로 구분되고 4마디로 된 주제와 35개의 변주로 구성되어 있다. 이곡에서는 8개의 음으로 구성된 주제선율이 대선율과 함께 오스티나토로 진행되며, 변주선율이 나오면서 변화를 준다. 주제선율과 대선율은 각각 2, 3성부를 번갈아가면서 모방도의 모두 2분음표의 리듬을 사용하여 느리게 진행된다. 선유진행은 4,3,2도의 하행과 상행진행을 반복하면서 점차 하행하는 구조로 되어있으며, 화성모방, 전위, 역행, 동형진행이 사용되었다. Hungarian Rock의 형식은 하성부의 오스티나토 패턴에 으해서 4마디로 된 주제와 32개의 변주로 나누어진다. 이 곡은 복리듬 기법이 효과적으로 적용된 곡으로 화성적인 하성부 오스티나토와 9/8박자의 2+2+3+2로 분할된 비대칭적 리듬 구조를 사용하였다. 오스티나토 패턴은 ♩♩♪♩♩ 의 비역행리듬을 사용하여 4마디 단위로 반복되며, 장3화음과 7화음 중심으로 이루어져있다. 상성부의 선율은 장 3도, 감4도,감5도 등의 도약진행이 주로 사용되며, 꾸밈음과 트릴이 첨가되어 장식되었다. 이상과 같이 Ligeti는 선율적으로 단순하면서도 짜임새 상으로 복잡한 음악적 가능성을 제시하고 있다. 「Passacaglia ungherese」와 「Hungarian Rock」은 비서구음악의 관심이 구체적으로 드러난 곡으로 결국 이러한 음악어법에 관심을 갖고 있었던 그에게 '독립적으로 구성되고 움직이는 각 성부들이 동시에 여러 층에서 들려지는 음악'을 서양음악의 일반적인 연주형태로 실현될 수 있는 구체적인 방법을 제시해주는 역할을 하였다고 할 수 있겠다. The World War I and Ⅱ became major turning points for modern music. After the Wars, composers began to develop their own music idioms and styles, and, by taking further steps forward, asked for re-establishment of the concept that musical materials and situations sensitiv to social changes are music in traditional sense. That is, they upturned the existing concepts of composition, recital, listening and even genre which had governed the traditional music culture. In this current, music of Gyo¨rgy Ligeti who always made attempts for new rhythms and tones has significant meanings. This study aims to explore an aspect of Ligeti's musical techniques shown in his works by analyzing his chemballo pieces, Passacaglia ungherese and Hungarian Rock. By examining various literature and sheets, this study addressed rhythm techniques in Ligeti's music and analyzed several aspects of musical pieces such as forms, melody, harmony structures and motion of major tones in the keyboard pieces, Passacaglia ungherese and Hungarian Rock which well show the characteristics of comtemporary music in the late 20th century. The form of Passacaglia ungherese is divided into 3 parts according to the developmental patterns of rhythms, and is composed of themes of 4 tunes and 35 variations. In these pieces, theme melody composed of 8 tones moves and changes with variation melokies in ostinato. Theme melody and counterpoint are imitated, alternation 2 and 3 voices and proceed slowly using half notes. Melody motions have gradually descending structures, alternation 4th, 3rd and 2nd descending motions and ascending motions, and maintains interval relationships of major sixth, minor sixth and major third harmonically. The development of motif adopts imitation, inversion, retrograd and sequence. The form of Hungarian Rock is divided into 4-tone themes and 32 variations by ostinato patterns in low voice. This piece poly-rhythm techniques is effectively applied to uses harmonical low voice ostinato and asymmetrical structures divided into 2+2+3+2 of 9/8 beats. The ostinato pattern is repeated every 4 tones, using non-retrograd rhythms of ♩♩♪♩♩, and is composed of Major Third and the Seventh, Melodies of high voice parts mainly uses disjunct motions of Major Third, Dim.Fourth and Dim. fifth with ornaments and trills added and ornamented. Ligeti's works presents musical possibilities which are simple in melody and complicated in structure. Passacaglia ungherese and Hungarian Rock are the pieces that well show the interest of non-Western music, and they suggested specific methods to realize 'the music in which each different voice which is independently composed and moving is heard simultaneously with multi-layers' to Ligeti who was interested in such music idioms.

Gyoergy Ligeti의 aventures 분석 및 인성기법에 관한 연구

권기현 중앙대학교 대학원 2001 국내석사

Gyoergy Ligeti는 새로운 음향창출을 위해 끊임없는 시도와 도전으로 현대음악에 지대한 영향을 주었다. 그 시도의 일환으로 밀집된 음향에 의한 클러스터와 전자음향, 제한된 우연성 음악, 그리고 말과 목소리의 새로운 다양한 가능성들은 Ligeti의 많은 작품 속에서 표현되어지고 있다. 그리하여 Ligeti의 새로운 음향을 위한 작곡기법들은 그 전 시대와는 구분되는 새로운 음향을 창출하게 되었고, 이것은 또한 많은 작곡가들에게 새로운 영향을 제시하게 된다. Ligeeti의 음악적 특징중 하나는 음악내의 세부적인 음정과 리듬의 구조를 청각적으로 쉽게 인식할 수 없다는 것인데, 이러한 부분은 Ligeti의 작품Aventures에 나타나 있다, Ligeti의 작품 Aventures에 대한 분석결과는 다음과 같다. 형식면에서는 전체적으로 8개의 section으로 나누어 지진다. 특히 음향적 요소인 인성의 사용에 따라 형식이 구분되어 지며, 이것은 목소리가 단지 음향적 차원에서가 아닌 전체적인 음악구성에 참여된다. 음향적인 면에서는 인성의 다양한 기법을 통한 표현에 중점을 두고 있으며 내부의 개별적인 많은 움직임을 통해 인성의 음향이 다양한 형태로 나타난다. 리듬적인 면의 가장 특징적인 부분은 폴리리듬의 사용이다. 이러한 움직임은 다양하게 분할되어진 리듬들이 하나의 독립된 요소가 아닌 전체적인 리듬의 형태로 인식되어 결국은 리듬 덩어리의 개념으로 사용되었다. Ligeti의 작품 Aventures에서 보여주었던 새로운 음향을 위한 여러 가지 기법들은 계속 이어지는 작곡가들의 새로운 음악적 시도 속에서 하나의 큰 음악적 유산으로 남겨질 것이다. Gyoergy Ligeti had much effect on the modern music with unceasing try and challenge for generating new sound. Consequently, cluster by collective sound, electric sound, limited accidental music and new and various possibility for world and voice are expressed in lots of Ligeti's works. the new techniques and the new sounds came to give a new direction to many composers. One of Ligeti's musical characteristics is that the specific structure odinterval and rhythm is not so easily distinguishable. Such a characteristic is well expressed in Aventures. Following are the results of study on Ligeti's Aventures; The music is divided into 8 sections. Especially the general form of the music is divided by uses of voice, a sound element. this means that voice takes part in the musical construction, not just in the level of sound. As for the sound, the expression is emphasized by voice. The voice appears in the more diverse patterns through lots of internal and individual movements. the most characteristical aspect in terms of rhythm is the use of poly-rhythm. With this application, each divided rhythm came to be recognized as whole, not a separated one, finally as a mass of rhythm. The techniques to acquire new sound that Ligeti tried in his work 'Aventures' must be left as a great heritage for the composer of the next generation.

죄르지 리게티(György Ligeti) 《피아노 에튀드》(Études pour Piano, 1985-2001) 전 곡 분석 및 연주법 제안

윤정은 서울대학교 대학원 2020 국내박사

본 논문은 죄르지 리게티(György Ligeti, 1923-2006)의 《피아노 에튀드》 제1, 2, 3권을 통해 리게티의 작곡 양식과 음악세계를 고찰하고, 분석을 바탕으로 연주법에 대해 논의하는 것을 목적으로 한다. 리게티는 정치적으로 특수한 상황 하에 놓여 있었던 20세기 동유럽에서 작곡 활동을 시작하여 고유한 음악 어법을 구축하고자 끊임없이 탐구한 작곡가이다. 리게티의 《피아노 에튀드》(Études pour Piano)는 전 18곡으로 1985년부터 2001년에 걸쳐 작곡되었는데, 이 시기는 그가 접해온 다양한 음악적 양식이 응축됨으로써 고유한 후기 음악어법이 성립된 시기이다. 《피아노 에튀드》는 이러한 그의 후기 음악어법을 대표함과 동시에 음악세계 전반을 보여주는 작품이기에 연구 대상으로서 매우 중요한 의미를 지니고 있다. 본 논문에서는 먼저 리게티의 음악세계와 그가 접한 다양한 음악적 양식을 살펴보고, 이것이 그의 《피아노 에튀드》에서 어떻게 나타나는지에 대해 알아보았다. 분석에 앞서 작품 개관에서는 각 곡의 전반적인 구조를 제시하였고, 작품의 분석은 크게 리듬과 음향으로 나눠서 리듬에 있어서는 첫째로 다차원적인 폴리포니의 형성, 둘째로 패턴의 전개방식을 살펴보았다. 또한 음향에 있어서는 첫째로 음향적 소재인 클러스터, 완전5도, 3화음과 7화음, 온음음계를, 둘째로 음향 형성 방식인 음향의 대비, 음향적 원근, 선적 중첩과 모방을 중심으로 살펴보았고, 이에 대한 분석을 바탕으로 연주법을 제안하였다. 문헌을 통해서 학습한 내용과 분석을 토대로 필자는 리게티 《피아노 에튀드》의 핵심은 다양성이라는 점을 확인할 수 있었다. 먼저 리게티가 영향을 받은 음악적 경험의 다양성이다. 악삭 리듬과 라멘트 모티브에 해당하는 민속 음악뿐만 아니라 전자음악과 다성부 작법의 영향을 받은 미크로폴리포니 기법, 또한 80년대 이후에 접한 자동피아노와 아프리카 음악 등이 리게티의 음악적 영감에 자극제가 되어 다양한 방식으로 전개되었다. 그리고 이러한 다양한 음악적 영감은 그의 《피아노 에튀드》에서 서로 결합되어 새로운 결과로 나타나고, 다양한 연주의 가능성을 제공한다. 이러한 사실은 연주를 위한 접근 방식에 있어서도 중요한 의미를 지닌다. 먼저 패턴 형성 과정, 리듬적 폴리포니와 같은 악곡을 구성하는 리듬적 특성을 이해하고 연주에 적용하는 것이 바람직하다. 둘째로, 리게티가 《피아노 에튀드》를 통해 의도한 음향적 시도에 연주자 또한 소리에 대한 상상력을 가지고 접근하고, 다양한 연주 기법적인 실험을 통해 구현할 필요가 있다. 셋째로, 이러한 과정에서 리게티의 연주에 관한 구체적인 지시를 따르되, 그의 음악 언어에 대한 이해를 토대로 실제 연주에 이를 적용하기 위한 재해석이 요구된다. 이를 통해 본 논문은 연주자의 관점에서 《피아노 에튀드》 각 곡에 나타나는 리게티의 다양한 음악적 시도를 구현하기 위한 이상적인 연주법에 대해 고찰하였다. This study discusses the interpretation of György Ligeti’s Etudes pour piano (1985-2001) from the performer’s perspective based on an analytical survey of the work. Three books of Ligeti’s piano etudes are prime examples of works that reflect his late compositional style and his own musical language. Ligeti was a composer who constantly sought to establish his own musical style, starting from his youth in Hungary during the 1950s, continuing his exploration of various musical styles until the 1980s when he began to establish his mature musical style. His Études pour Piano consists of 18 compositions in which he brought together his inspirations from various musical and non-musical ideas that had influenced him. Thus, Études pour Piano is a research subject of great significance. This study will therefore briefly overview Ligeti’s musical language and the various musical styles that he was influenced by, and will attempt to demonstrate and examine how they are integrated into the Études pour Piano. After giving overall structures of each etude, it takes elements of rhythm and sound as tools for analyzing the work. Rhythmic aspects include pattern-developing structures, asymmetric rhythms, and multi-layered rhythmic textures. In relation to sound, cluster, fifths, triads and seventh chords, and whole tone scales are materials that are looked at. Contrasts of sonorities, spatial treatment of sounds, overlapping of horizontal lines, and canon are techniques to create diversity of sound. This study also demonstrates how those elements appear in each of the 18 etudes. Based on the analysis above, it will be evident that Ligeti’s interests and influences range from traditional folk music to electronic music, as well as from the player piano music to African polyphony that he encountered in 1980s, and that they were developed in a multitude of ways in his music. They are treated differently in different works, and some of the ideas are fused together and reproduce even more interesting sound effects. For performers, the great amount of diversity in the musical ideas in his etudes provides various possibilities of interpretation in performance. Therefore, it is first of all important for performers to understand pattern-developing structure, and be able to apply it to actual performance. In addition, a careful consideration of Ligeti’s indications based on a clear understanding of his musical language is required to realize his intention and to reinterpret then. Moreover, performers also need to have musical imagination and a willingness to experiment with performance issues in order to recreate his various ideas in music.

Gyorgy Ligeti의 <Ten Pieces for Wind Quintet> 분석 : 제1, 2, 8곡을 중심으로

김미정 忠南大學校 大學院 2003 국내석사

There are experimental attempts in the music of 20th century, Especially, the concern and a lot of attempts about a new sound are uncomparably expressed liberally, and these made revolutionary experiments possible. Furthermore, the experiments became to develop the constitution of tone color as an effect, including the development of tone color. From this respect, Gyo¨rgy Ligeti(1923-1990) can be one of the representative Avantgartists of 20th century. Ligeti dedicated to various trends of art containing Electronic Music and Post-modernism. Through Ligeti's works, he created musical terms such as Klangnfla¨che, Klangfla¨chen, Mikrotonishklang, and Mikro - polyphonie, whose terms were generalized later. In this thesis, it is necessary to refer Ligeti's musical inclinations and characteristics of the late 20th century. Furthermore, it is examined about Ligeti's some techniques used to create a new tone color, musical characteristics and the structural point of view through the horizontal and vertical tone constitution, rhythm and musical elements through No. 1, 2, and 3 pieces among Ten Piece for Wind Quintet(1968). In this study, the result of analysis of Ligeti is examined as the following: 1) Form: One of forms of Ligeti's works is the organization of instruments, the tone structure of horizontal and vertical tone constitution, and Klangfla¨che. The other is contrast or similarity, which is related to rhythm. The form of the second piece, which is especially focused on one specific instrument, is classified according to melody of the musical instrument. 2) Melody: The contralpuntal process of polyphony appears, making a new structure with the division of rhythm. The condensed process of second degreed constitution makes sound reflection of tone-cluster at the narrow range, the process produces tone-cluster horizontally as well, resulting in Mikropolyphonie. 3) Sound constitution and sound layer: The vertical interval makes the layer of sound on the basis of the second degree, which has gradual varieties in the sense of the repeated process of melody and rhythm. 4) Rhythm: There are two kinds of rhythm used in this work. One is regular or irregular pattern of rhythm. The other is the specified division of rhythm from division number 3 to 9. These rhythms work as the main factors of Mikropolyphonie, especially in the 1st piece. In the 8th piece, these specified rhythms make various tone colors with Polyrhythm. 5) Dynamics: There are contrasted dynamic marks used from ppp to fff. The movement plays a role changing different tone colors to the various sound layers for a certain form of dynamics used in the first piece. According to the above, the 1st, 2nd, and the 8th piece of Ten Piece for Wind Quintet are expressed by distinguished the musical color of Ligeti such as his structure of the sound constitution, rhythm, the new express of sound color, and Klangfla¨chen Komposizion, Mikropolyphonie, etc. * A thesis submitted to the committee of the Graduate School, Chungnam National University partial fulfillment of the requirement for the degree of Master of arts in February 2003.

György Ligeti의 <Ten Pieces for Wind Quintet> 분석 : 제1, 2, 8곡을 중심으

金美庭 忠南大學校 大學院 2004 국내석사

There are experimental attempts in the music of 20th century. Especially, the concern and a lot of attempts about a new sound are uncomparably expressed liberally, and these made revolutionary experiments possible. Furthermore, the experiments became to develop the constitution of tone color as an effect, including the development of tone color. From this respect, György Ligeti(1923-1990) can be one of the representative Avantgartists of 20th century. Ligeti dedicated to various trends of art containing Electronic Music and Post-modernism. Through Ligeti's works, he created musical terms such as Klangflache, Klangflachen, Mikrotonishklang, and Mikro - polyphonie, whose terms were generalized later. In this thesis, it is necessary to refer Ligeti's musical inclinations and characteristics of the late 20th century. Furthermore, it is examined about Ligeti's some techniques used to create a new tone color, musical characteristics and the structural point of view through the horizontal and vertical tone constitution, rhythm and musical elements through No. 1, 2, and 3 pieces among Ten Piece for Wind Quintet(1968). In this study, the result of analysis of Ligeti is examined as the following: 1) Form: One of forms of Ligeti's works is the organization of instruments, the tone structure of horizontal and vertical tone constitution, and Klangflache. The other is contrast or similarity, which is related to rhythm. The form of the second piece, which is especially focused on one specific instrument, is classified according to melody of the musical instrument. 2) Melody: The contralpuntal process of polyphony appears, making a new structure with the division of rhythm. The condensed process of second degreed constitution makes sound reflection of tone-cluster at the narrow range, the process produces tone-cluster horizontally as well, resulting in Mikropolyphonie. 3) Sound constitution and sound layer: The vertical interval makes the layer of sound on the basis of the second degree, which has gradual varieties in the sense of the repeated process of melody and rhythm. 4) Rhythm: There are two kinds of rhythm used in this work. One is regular or irregular pattern of rhythm. The other is the specified division of rhythm from division number 3 to 9. These rhythms work as the main factors of Mikropolyphonie, especially in the 1st piece. In the 8th piece, these specified rhythms make various tone colors with polyrhythm. 5) Dynamics: There are contrasted dynamic marks used from ppp to fff. The movement plays a role changing different tone colors to the various sound layers for a certain form of dynamics used in the first piece. According to the above, the 1st, 2nd, and the 8th piece of Ten Piece for Wind Quintet are expressed by distinguished the musical color of Ligeti such as his structure of the sound constitution, rhythm, the new express of sound color, and Klangflachen Komposizion, Mikropolyphonie, etc. 본 논문에서는 먼저 1950년대 이후의 음악적 경향과 리게티 음악의 일반적 특징들을 살펴보고, 중 제 1, 2, 8곡을 통해 그의 음악적 특징과 새로운 음색창조를 위하여 사용된 기법들이 수평·수직적 음조직 및 리듬 등의 음악적 요소들로 인해 어떻게 구성되고 진행되어 가는지를 구조적 관점에서 알아 보고자한다.

죄르지 리게티(György Ligeti)의 피아노 연습곡(Ètudes pour Piano)에 나타난 리듬에 관한 연구 : 제 1권(Premier livre), 제 2권(Deuxième livre)을 중심으로

배지연 명지대학교 대학원 2012 국내석사

In the wentieth century the investigation and experimentation of new music and musical systems that will replace tonal music and conventional forms become the primary issues. One of the typical European composers in the late twentieth century, György Ligeti (1923-2006), was one of the most notable composers since he was a leading figure in developing varied trends including avant-garde, electronic music, and postmodernism. Ligeti who defected from his country, Hungary, to the West evolved from nationalism in Hungarian music toward his compositional styles as face to the musical trends at the time. This study of Rhythm in Ligeti’s Ètudes pour Piano, in which his new musical investigations are condensed, would help in understanding and performing his music after 1980’s. In addition, this study will provide not only a general overview of the Ètudes pour Piano and diverse compositional influences but also a suggestion of new techniques in the work. 20세기에 들어서면서 음악가들에게 있어 이전에 사용하던 조성음악이나 전통적인 형식을 대체할 새로운 음악과 음악적 체계를 탐구하고 실험하는 것이 중요한 화두였다. 20세기 후반의 유럽 작곡가 중 대표적인 한 사람인 죄르지 리게티(György Ligeti, 1923-2006)는 아방가르드(avant-garde), 전자음악(electronic music), 그리고 포스트모더니즘(postmodernism)에 이르는 다양한 예술사조를 이끔으로써 20세기 현대음악에 나타난 새로운 경향을 추구한 중요한 작곡가가 되었다. 헝가리를 탈출하여 서방으로 망명해 온 리게티는 당시의 음악적 경향들과 직면함으로 헝가리 민족주의 음악에서 자신의 고유한 작곡양식으로 발전시켜 갔다. 본 논문에서는 리게티의 새로운 음악적 탐구가 응축되어 있는 작품, 『피아노 연습곡(Ètudes pour Piano)』과 그 안에 나타난 리듬을 핵심적으로 연구함으로써, 1980년대 이후에 변화된 그의 음악을 이해하고 연주하는데 도움을 주고자 한다. 이 『피아노 연습곡』에 나타난 리듬에 대한 연구뿐만 아니라, 『피아노 연습곡』에 대한 전체적인 개관과 영향을 미친 다양한 작곡기법들을 다룰 것이며, 더불어 이 작품을 위한 새로운 테크닉을 제안하는 논의가 이루어 질 것이다.

Gyorgy Ligeti의〈Lontano〉fur groβes Orchester의 분석연구

강원미 신라대학교 대학원 2001 국내석사

Gyorgy Ligeti의 String quartet no. 2에 나타난 리듬의 구성과 발전 방법에 대한 연구

정명옥 국민대학교 일반대학원 2005 국내석사

We have studied for String quartet No.2 of Gyȏrgy Ligeti which indicated construction of rhythm and how it has been developed so far. The first moment in String quartet No.2 is formed of total 5 moments that is played comparatively simply without divided rhythm such as 3, 4 length, but as approaching the latter half of music, it appeared that divided rhythm is repeated to 13 length on every instrument. The more rhythm is divided and it presents over the instrument, the more close to tone cluster sound. It appeared that the second moment has mainly horizontal movement by changing rhythm and has tone cluster from a perpendicular point of view. The third moment is similar to the first moment that has imitative form of Canon. In contrast to divided rhythm of one that has a broad tone, the change of the tone is not very significant comparatively. The forth moment is similar to make changing tone by using a tie used the second moment which can lengthen rhythm and change point. But by using the middle register, the fourth moment more emphasized on perpendicular tone than the second moment. The fifth moment is noticeable that the form of rhythm between the first moment and fifth moment is very similar. The first moment used Canon's imitative form of rhythm. The fifth moment is used only from 13 phrase to 17 phrase as the form of Canon's rhythm. However, it is more likely to be a similar formation to the 1st movement because its division on rhythm over the movement and it matches up as a pair of instrument. As you see above, It looks like that it is different from the four of rhythm and the way of developing each movement, but as analytic details of rhythm on all over the movement, it is obvious that it was eventually the composer's idea to show tone cluster through imitative form of Canon and polyrhythm. On String quartet No.2 of Gyȏrgy Ligeti, it shows that tone cluster is made by combination of rhythm as well as only combination of sounds, which represent another possibility in Modern Music. I hope this kind of techniques can be researched and developed more by composers, so that many more genre can be created.

Gyo‥rgy Ligeti의 「Six Bagatelles for Wind Quintet」분석연구

林侖信 숙명여자대학교 1997 국내석사

This thesis is a study on Georgy Ligeti's general characteristics and his music's distinct styles among many modern music composers after the World War Ⅱ. It is analyzed by reviewing the <Six Bagtelles for Wind Quintet> of his composed in 1953. The analysis of six music pieces is as follows. First, a little different from Ligeti's characteristics, one can see the effects of traditional harmonics of the chords. Second, the usage of "tone cluster" is frequent, specially in the second piece, and regular music interval relation is shown both horizontally and vertically in the fifth and sixth piece. Third, in the view of rhythm, it is both regular and irregular rhythms that make up the pattern and inversion and retrograde were mainly used. Introduced notes using as separate rhythms actually soften the severe feelings. This technique that is completed by using different accent locations is called "Hemiola". Fourth, his music is very dynamic with tone ranging from ppp to fff, but mainly sf is being used a lot. also, music pitch is very dramatic with many changes. Fifth, one can notice the characteristic with different instrument. By using various instrument organizations, Ligeti's music demands different tone colors. Also, with same pitch but different instrument, new tone colors and its melodies are formed. For example, by switching flute with piccolo in the first piece, one can find six different tone colors all together. As listed above, I have analyzed various characteristics of this particular music piece by Ligeti, some of which are very similar to Ligeti's distinct composing style. I hope this thesis be helpful to those who study other twentieth century composers.

Gyo¨rgy Ligeti 《Lontano》 분석

趙義卿 숙명여자대학교 1988 국내석사

The aim of this thesis is to investigate the characteristics of Ligeti's music by analysing his orchestral piece 《Lontano》. Sound mass or cluster composition has received remarkably little attention by theorists. But the technic of searching for new timbre with use of sound mass has been one of the conspicuous features of since 1945 music, and G. Ligeti is one of the representative composers who use this technic. Ligeti's music has its essential points in Micropolyphony composed of the complex overlapping and interweaving of many seperate parts, and in Macropolphony heard as static, continuous planes of sound. So we can say 'polyphony is written, but harmony is heard'. Besides these Ligeti was interested in other areas of form and expression such as meccanico-type movement, hectic music, sound of articulate speech, gesticulating, etc. These objects of his interest's directly arise from his music thoughts destroying all the traditional elements - eg. melody, harmony, rhythm - and incessantly pursuing new music. Even since 1956, when we can find his typical music, his pieces show several changes of concern - from chromatic clusters to tendency of using intervals, harmonies, and then to micro-tonality. As far as its overall form is concerned, 《Lontano》 is related to some previous works, because 《Lontano》 also belongs to the prototype of continuous music. But the essentially different fact of 《Lontano》 against previous works is that 《Lontano》 returns to composition with intervals and harmonies - though the harmonic crystallization within 《Lontano》 differs from traditional harmony. The composition with the intervalic and harmonic structures shows itself in 《Lontano》 by two ways as below. First, complex of individual or independent pitches compose micro polyphony and plural micropolyphonies compound macropolyphony which sounds plane. Second, in its formal structure, 'Eckpunkten' or 'Eckpfeilern', composed of interval or individual tone or harmony, playa structural role. With reference to the former, it is very important feature that in 《Lontano》 from the outset extremely dense canonic counterpoint is used as major element. Meanwhile the latter technic - new pitches arise from the already made plane of sound and then they become predominant - makes Lontano sound continuous together with the former. This thesis has analysed especially canonic structure, density, and dynamic for the purpose of understanding the structural or compositional characteristic of 《Lontano》. First, in 《Lontano》 various canonic lines build up canonic layers and the interweaving layers constitute macro polyphony which sounds plane. And 《Lontano》 can be divided into three interdiscriminated sections, each containing multiple pitch canons at the unison followed by sustained clusters. In addition to canonic procedure the unique orchestration of each canon, the flanking of its lines by rests, the difference of bowings, octave and unison doubling, and density, dynamic also interact with pitch to delineate layers. Second, if canon is related to the horizontal level, density means the vertical distribution of pitches. In 《Lontano》 density, transforming itself slowly and incrementaly, is one of the elements controlling the continuous tone procedure. Third, dynamic, starting from pppp, produces plane effect as if overall range of 《Lontano》 continued by ppp.