Ligeti in Fluxus

Journal of Musicology

Volumn 21, Issue 2, 2004, Pages 201-240

  Drott, Eric ^a  

^a UNIVERSITY OF TEXAS AT AUSTIN   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 60949961844     PISSN: 02779269     EISSN: None     Source Type: Journal    
DOI: 10.1525/jm.2004.21.2.201     Document Type: Review

References (34)

1. Richard Toop, György Ligeti (London: Phaidon, 1999), 80
2. and Pierre Michel, György Ligeti (Paris: Minerve, 1995), 55-56
3. Ligeti, "'Meine Musik ist elitäre Kunst': György Ligeti antwortet Lutz Lesle," Musica 28/1 (January/ February 1974), 39
4. Ligeti in 'Träumen Sie in Farbe?' György Ligeti im Gespräch mit Eckhard Roelcke (Vienna: PaulZsonay 2003), 99
5. Toop, Ligeti, 82
6. For discussions of these and other Fluxus events from a musical perspective, see Douglas Kahn, 'The Latest: Fluxus and Music," in In the Spirit of Fluxus, 101-20
7. Michael Nyman, Experimental Music: Cage and Beyond, (Cambridge: Cambridge Univ. Press, 1999), 72-88
8. For a discussion of Fluxus scores as textual objects, see Liz Kotz, "Post-Cagean Aesthetics and the 'Event' Score," October 5 (Winter 2001): 55-89
9. Maciunas, "Neo-Dada in Music, Theater, Poetry, Art" (1962), repr. in Ubi Fluxus, 216
10. Maciunas, "Fluxus Manifesto," (1963), repr. in Ubi Fluxus, 217
11. Peter Bürger, The Theory of the Avant-Garde, trans. Michael Shaw (Minneapolis: Univ. of Minnesota Press: 1984)
12. A more critical evaluation of the applicability of Bürger's work to music can be found in Gianmario Borio, Musikalische Avantgarde um 1960: Entwurf einer Theorie der informellen Musik (Laaber: Laaber-Verlag, 1993), 14-15
13. Bürger, Theory, 49
14. 'Fluxus Manifesto" (1965), repr. in Ubi Fluxus, 221
15. See Owen Smith, Fluxus: The History of An Attitude (San Diego: San Diego State Univ. Press, 1998), 67
16. Quoted from Ligeti, " 'The Future of Music': A collective Composition," in Dé-coll/ age 3 (December 1962), n.p
17. Ligeti, " 'The Future of Music,' "n.p
18. Ligeti, "Music and Politics," Perspectives of New Music 16 (1978): 22-23
19. For Ligeti's account of this affair, see "Music-Making Machines," 10
20. See Griffiths, Ligeti, 39
21. For firsthand accounts of the protest and its consequences for Fluxus, see Henry Flynt, "Mutations of the Vanguard: Pre-Fluxus, During Fluxus, Late Fluxus," in Ubi Fluxus, 114-15
22. and Higgins, in 1962 Wiesbaden Fluxus 1982, 114-15
23. See also Fricke, 38-41
24. and Jerome Kohl, "Die Rezeption der Musik und Gedanken Stockhausens in Amerika," in Internationales Stockhau sen Symposium 1998 (Saarbrucken: PFAU Verlag, 1999), 76-77
25. See Kohl, "Rezeption," 77. Kohl notes that reviews of the New York premiere of Originale in Musical America and the New York Times mistook the protestors for performers; only the reporter from the Village Voice seems to have recognized that the protest was to be taken at face value
26. For a discussion of the "centrifugal" expansion of serial techniques and its ramifications during this period, see Gianmario Borio, Musikalische Avantgarde, 23
27. Stockhausen, Originale: musikalische Theater, no. 12, 2/ 3 (1961) (Vienna: Universal Edition 1966)
28. Ligeti, in Ligeti in Conversation, 108
29. Ligeti, notes, n.p. Maria Kostakeva's persuasive reading of the work underlines its mechanical aspect. She contends that the work plays on the ironic juxtaposition of "humanized" metronomes and the objectified passivity of the audience. See Kostakeva, Die imaginäre Gattung: über das musiktheatralische Werk G. Ligetis (Frankfurt: Lang, 1996), 59
30. Frederik Ullen, Ligeti: The Complete Piano Music, vol. 1, BIS CD-783 BIS
31. Ligeti, Trois bagatelles für Klavier: 1961 (Mainz: Schott, 2000)
32. Allan Kaprow, Essays on the Blurring of Art and Life (Berkeley: Univ. of California Press, 1993), 100
33. Kaprow, Essays, 100
34. Paul Mann, The Theory-Death of the Avant-Garde (Bloomington: Indiana Univ. Press, 1991), 91. Mann's position-that the avant-garde's opposition to social institutions represented a form of dependence, and as such led inexorably to its recuperation-takes a risk inherent in any oppositional stance and turns it into a virtual ontological given