利盖蒂的“静态”音乐研究——以《永恒之光》为例

On György Ligeti’s“Static”Music:A Case Study of Lux Aeterna

乔治·利盖蒂是20世纪西方重要的作曲家之一。自20世纪50年代开始一直持续到70年代,他追求一种完全不同的音响——“静态”(static)音乐,这成为其创作生涯中的重要风格之一。利盖蒂认为,1966年创作的混声合唱《永恒之光》较之前的“静态”作品更具模糊性(opacity),也是重要的转折点。通过对该曲音高形态和非音高形态分析,了解作曲家如何将音乐的谱式与“静态”音响进行无缝衔接,从而达到其所追求的“静态”音乐的目的。

György Ligeti,one of the most important western composers of the 20th century,had been pursuing a totally different acoustics——“static”music,which became one of his notable styles in his music composing career from 50s to 70s of the 20th century.Ligeti thought the mixed chorus Lux Aeterna written in 1966 had more opacity than his previous works and was a turning point of his composition.The article analyzes the pitch form and non-pitch form of Lux Aeterna so as to make clear how the composer created the“static”acoustics with certain composing skills.