Author:
Andreas Dorschel Kunstuniversität Graz, Institut 14 Musikästhetik, Palais Meran, Leonhardstr. 15, A-8010 Graz, Österreich

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Abstract

Is György Ligeti's Le Grand Macabre (1974–1977/1996) a dystopian work, or rather one of utopia? Traditionally, dystopia and utopia have formed an alternative. Yet Ligeti and librettist Michael Meschke enact an intertwinement of dystopia and utopia, in a series of moves and countermoves: (1) Death threatens to eliminate all life. (2) The earth is saved from the fate of the destruction of life – “Death is dead” (II/4). (3) Yet “Breughelland” is and will remain a crude and cruel tyranny. (4) The farcical character of the whole calls into question whether any of the previous moves can be taken seriously. Ligeti's/Meschke's subversion of the antinomy of utopia and dystopia, introduced in the opening “Breughellandlied,” turns out to be in the spirit of Piet the Pot's namesake Pieter Breughel the Elder, as a closer look at his 1567 painting Het Luilekkerland, an inspiration already to de Ghelderode, reveals. The irritating role thus assigned to consumption, however, seems to trivially lose all ambiguity through the words of the opera's final stanza. While this is a weighty objection to the reading proposed here, the conclusion attempts to outline a rejoinder to it.

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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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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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