Kerkfy Mrton

(5 találat)
# Cím Abstract Folyóirat Oldalszám
A plyakezd Ligeti Gyrgy Bartk-recepcija abs.
Gyrgy Ligeti’s Reception of Bartk in His Early Carreer
Mrton Kerkfy

Bartk’s music played a uniquely important role in Gyrgy Ligeti’s musical world from the beginning. Even during his years of study at the Academy of Music in Bu¬dapest, Ligeti’s most important artistic model and idol was Bartk. As he put it in an interview conducted by Pter Vrnai in 1979, it had been in the early 1950s that he had begun to feel that he had had to go beyond Bartk. “What I felt I had to abandon were traditional forms, a musical language of the traditional kind, the sonata form. [ ... ] I wanted to get away from all ready-made forms [ ... ]” Still, Ligeti’s most important compositions of this period, Musica ricercata and String Quartet No. 1, show that his reception of Bartk remained central in his striving for a non-traditional and wholly individual musical style. While both works already foreshadow many features of the “Ligeti style” of the 1960s, they also witness that Ligeti’s new compositional ideas came from his conscious and creative assimilation of the constitutive elements of Bartk’s style.
2008., 46. évf. 3. szám 301. - 311.o
Egy elvetett npzenei kollzs : Ligeti Gyrgy: Heged?verseny, els? vltozat, els? ttel (1990) - 2013., 51. évf. 1. szám 68. - 78.o
Kontrasztok (?) : Gyakorlati s eszttikai megfontolsok Bartk zeneszerz?i munkjban - 2012., 50. évf. 4. szám 445. - 456.o
Muszorgszkij »Napfny nlkl« cm dalciklusnak harmniai nyelve abs.
The Harmonic Language of Mussorgsky’s Sunless Cycle
Mrton Kerkfy

Mussorgsky’s Sunless cycle has many times been the focus of controversy. It has been criticized for both ideological and musical reasons. The most unusual musical features of the cycle are its strange harmonic world and texture. The remarkable expressiveness of these songs is produced basically by Mussorgsky’s constructive harmonic language. Moreover, the harmony is of primary importance in the building of form, both in each song and it the cycle as a whole. The harmonic progressions can be characterized by the following procedures: (a) making extended sections with pedal notes; (b) using chromatic steps in different directions in two or more voices; (c) using parallel motion of three or more voices.
2005., 43. évf. 4. szám 435. - 446.o
Rec. Bepillants egy kivteles elme rapszodikus s csapong gondolataiba : Gyrgy Ligeti: Gesammelte Schriften, hrsg. von Monika Lichtenfeld - 2010., 48. évf. 1. szám 104. - 108.o