Author:
Amy Bauer University of California, 3043 Contemporary Arts Center, CA-92697-2775 Irvine, United States

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Abstract

Conservative critic John Borstlap cited Ligeti as a partisan in his fight against the modernist myth of progress in the arts, based on the famous citation “I am in a prison. One wall is the avant-garde, the other is the past. I want to escape.” Ligeti's ambivalence reflected his distaste for art linked to utopian socialist ideals, and for all that was reactionary. Yet he admitted that his own youthful utopian strivings evolved into a desire for complex music that often defied audibility. This essay traces Ligeti's reception history from the late 1950s onward as a reaction to the thwarted utopian strains in his music. For some, Ligeti's music of the 1960s seemed to define “the contemporary problem itself.” But the composer's increased visibility in the 1990s led to demands that he deal with his Jewish heritage and wartime trauma, and cease writing music with a broad appeal. I argue that Ligeti's works reinscribe the past, the personal, and the extramusical as a conscious expression of his prison. They express the nonlinear notion of progress that defines modernism: a vast “tear in the historical process” able to lift music above the scrum of political-aesthetic skirmishes, to a “region which lies elsewhere.”

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Editor(s)-in-Chief: Péter BOZÓ (Institute for Musicology, Research Centre for the Humanities, Budapest, H)

Review Editor: Lynn HOOKER (Purdue University, West Lafayette, USA)

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Patrick DEVINE (Maynooth University, Maynooth, IRL)
Anna LASKAI (Institute for Musicology, Research Centre for the Humanities, Budapest, H)

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  • William A. EVERETT (Conservatory University of Missouri-Kansas City, USA)
  • Márta GRABÓCZ (University of Strasbourg, Strasbourg, F)
  • Denis HERLIN (Centre National de la Recherche Scientifique, Paris, F)
  • Vjera KATALINIĆ (HR)
  • Katalin KOMLÓS (professor emerita, Liszt Academy of Music, Budapest, H)
  • Valeria LUCENTINI (University of Bern, CH)
  • Tatjana MARKOVIĆ (Österreichische Akademie der Wissenschaften, Wien, A)
  • Pál RICHTER (Institute for Musicology, Research Centre for the Humanities, Budapest, H)
  • László SOMFAI (Institute for Musicology, Research Centre for the Humanities, Budapest, H)
  • László VIKÁRIUS (Institute for Musicology, Research Centre for the Humanities, Budapest, H)

 

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2022  
Web of Science  
Total Cites
WoS
56
Journal Impact Factor 0.1
Rank by Impact Factor

n/a

Impact Factor
without
Journal Self Cites
0.1
5 Year
Impact Factor
0.1
Journal Citation Indicator 0.08
Rank by Journal Citation Indicator

Music (Q4)

Scimago  
Scimago
H-index
5
Scimago
Journal Rank
0.1
Scimago Quartile Score

Music (Q4)

Scopus  
Scopus
Cite Score
0.1
Scopus
CIte Score Rank
Music 154/167 (8th PCTL)
Scopus
SNIP
0.240

2021  
Web of Science  
Total Cites
WoS
67
Journal Impact Factor not applicable
Rank by Impact Factor not applicable
Impact Factor
without
Journal Self Cites
not applicable
5 Year
Impact Factor
not applicable
Journal Citation Indicator 0,04
Rank by Journal Citation Indicator Music 100/112
Scimago  
Scimago
H-index
5
Scimago
Journal Rank
0,101
Scimago Quartile Score Music (Q4)
Scopus  
Scopus
Cite Score
0,1
Scopus
CIte Score Rank
Music 130/153 (Q4)
Scopus
SNIP
0,000

2020  
Scimago
H-index
3
Scimago
Journal Rank
0,100
Scimago
Quartile Score
Music Q4
Scopus
Cite Score
5/56=0,1
Scopus
Cite Score Rank
Music 118/147 (Q4)
Scopus
SNIP
0
Scopus
Cites
11
Scopus
Documents
0
Days from submission to acceptance 112
Days from acceptance to publication 413

 

2019  
Scimago
H-index
3
Scimago
Journal Rank
0,100
Scimago
Quartile Score
Music Q4
Scopus
Cite Score
1/66=0
Scopus
Cite Score Rank
Music 122/142 (Q4)
Scopus
SNIP
0,000
Scopus
Cites
4
Scopus
Documents
0

 

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Studia Musicologica
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