Author:
Paul Griffiths Independent Scholar, Disgwylfa 2, Manorbier, SA70 7TE, Wales, United Kingdom

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Abstract

Like his fellow members of the Western European musical avantgarde of the 1950s, 60s, and 70s, Ligeti often expressed himself in articles or lectures on theoretical and analytical topics. Unlike his contemporaries, however, he also wrote on matters autobiographical. Though his first self-examination, dating from 1971, is still concerned overwhelmingly with compositional theory, from the end of that decade he returned several times to personal experiences, especially those of his childhood years and early adulthood. These seemed to become important again now that the musical climate was turning from a hard objectivity that held the composer's personality to be almost irrelevant towards a fuzzier view of how composers could not but be subjectively engaged in their work. At the same time, in their variety of approach, Ligeti's autobiographical writings refuse to tell a single story.

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  • Griffiths, Paul (ed.), The Illusion Machine: Selected Writings of György Ligeti (New York, NY: Oxford University Press, in press).

  • Kerékfy, Márton. ‘Zero Point’: The Beginnings of György Ligeti’s Western Career, Studia Musicologica 60 (2020), 103114.

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  • Lichtenfeld, Monika (ed.). György Ligeti: Gesammelte Schriften, 2 vols. (Mainz: Schott, 2007).

  • Scheding, Florian. “Where Is the Holocaust in All This? György Ligeti and the Dialectics of Life and Work”, in Dislocated Memories: Jews, Music, and Postwar German Culture, ed. by Tina Frühauf and Lily Hirsch (New York: Oxford University Press, 2014), pp. 205221.

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  • Scherzinger, Martin.György Ligeti and the Aka Pygmies Project,” Contemporary Music Review 25 (2006), 227262.

  • Schultz, Hans Jürgen (ed.). Mein Judentum (Stuttgart and Berlin: Kreuz, 1978).

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  • Zimmermann, Heidy.Reflections on Ligeti’s Jewish Identity: Unknown Documents from his Cluj Years,” in György Ligeti’s Cultural Identities, ed. by Amy Bauer and Márton Kerékfy (London and New York: Routledge, 2018), 103119.

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Senior editors

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)

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

Editorial Board

  • Anja BUNZEL (Institute of Art History, Czech Academy of Sciences, CZ)
  • 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)

 

Editorial Secretary

  • István Csaba NÉMETH (Institute for Musicology, Research Centre for the Humanities, Budapest, H)

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Studia Musicologica
Language English
French
German
Size B5
Year of
Foundation
2007 (1961)
Volumes
per Year
1
Issues
per Year
4
Founder Magyar Tudományos Akadémia
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Address
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Chief Executive Officer, Akadémiai Kiadó
ISSN 1788-6244 (Print)
ISSN 1789-2422 (Online)