Statistik, eine objektive Methode zur Analyse von Kunst?: Die Leistungsfähigkeit statistischer Methoden für die Analyse von Kunstwerken am Beispiel von György Ligetis "Lux aeterna"

1976 ◽  
Vol 7 (2) ◽  
pp. 249 ◽  
Author(s):  
Hans-Joachim Bauer
Keyword(s):  
Lux Aeterna

Pitch and Rhythmic Dramaturgy in Verdi's Lux aeterna

1990 ◽  
Vol 14 (2) ◽  
pp. 169-185
Author(s):  
John Roeder
Keyword(s):  
Lux Aeterna

AUF DEM WEG ZU „LUX AETERNA“

1969 ◽  
Vol 24 (JG) ◽  
Author(s):  
György Ligeti ◽  
Karlheinz Roschitz
Keyword(s):  
Lux Aeterna

Pitch and Rhythmic Dramaturgy in Verdi's Lux æterna

1990 ◽  
Vol 14 (2) ◽  
pp. 169-185 ◽  
Author(s):  
John Roeder
Keyword(s):  
Lux Aeterna

scholarly journals La música de Ligeti en Secundaria a través de 2001: Una Odisea del Espacio

2020 ◽  
Vol 2 (2) ◽  
pp. 61-78
Author(s):  
Alejandro Cano Palomo
Keyword(s):  
Stanley Kubrick ◽  
Lux Aeterna

El trabajo llevado a cabo en esta investigación se centra en el uso de los medios audiovisuales como recurso didáctico en el aula de música de la enseñanza secundaria española, así como la música del compositor húngaro G. Ligeti (1923-2006) y el uso de sus partituras en la película 2001: Una odisea del espacio (1968) del director Stanley Kubrick (1928-1999). Tras la parte de investigación, se presenta una propuesta didáctica para el resto de la comunidad educativa, de posible aplicación a la hora de abordar la música de Ligeti y el concepto de música textural a través de la cinta de Kubrick y las piezas musicales Requiem, Lux Aeterna y Atmosphères, con materiales de elaboración propia.

Sur Lux aeterna

2017 ◽  
pp. 232-239
Author(s):  
György Ligeti
Keyword(s):  
Lux Aeterna

scholarly journals The impact of restorative audio-visual environment learning on the stress

2018 ◽  
Vol 43 ◽  
pp. 01007
Author(s):  
Nikolai Matveev ◽  
Kirill Shamritskiy
Keyword(s):  
Emotional State ◽  
Academic Progress ◽  
Relaxation Method ◽  
Well Being ◽  
Visual Environment ◽  
Visual Content ◽  
Lux Aeterna ◽  
The Impact ◽  
Positive Effect ◽  
Learning Stress

The experiment, conducted in the laser theater Lux Aeterna on the basis of the ITMO University, was aimed at testing the hypothesis about the positive effect of dynamic audio-visual content on the psycho-emotional state of a person and her academic progress after a long period of exposure. Both groups underwent a lengthy Bourdon test and a Shcherbatyh test for the learning stress. Only the participants who passed the laser theater session improved their productivity in the performance of monotonous work in the further passage of the test and showed a significant decrease in the level of general learning stress at the end of the experiment. Correlations between the level of learning stress and academic progress were not found. The use of sessions of dynamic audio-visual content based on the laser theater Lux Aeterna can be considered as an alternative relaxation method that allows changing the level of learning stress in people, increasing productivity in the performance of monotonous work and improve general well-being.

Lux Aeterna, for Five Masked Musicians, Soprano, Bass Flute (And Soprano Recorder), Sitar, and Percussion (2 Players)

Notes ◽  
1980 ◽  
Vol 36 (3) ◽  
pp. 748
Author(s):  
David Burge ◽  
George Crumb
Keyword(s):  
Lux Aeterna

‘Rules as Strict as Palestrina's’: The Regulation of Pitch and Rhythm in Ligeti's Requiem and Lux aeterna

2013 ◽  
Vol 10 (2) ◽  
pp. 203-230
Author(s):  
BENJAMIN R. LEVY
Keyword(s):  
Gyorgy Ligeti ◽  
Lux Aeterna ◽  
The 1960S ◽  
The Aesthetic

AbstractGyörgy Ligeti has stated that his micropolyphonic compositions were ‘governed by rules as strict as Palestrina's’ (Ligeti 1983, 14); some of these rules are preserved directly in his sketches and others can be derived from the compositions themselves. This article discusses the artistic context in which Ligeti developed systems of rules for individual compositions, and investigates in depth the composer's rules for the organization of pitch and rhythm in two of his seminal works from the 1960s, transmitting the explicit rules for pitch in sketches for the ‘De die judicii’ movement of the Requiem and uncovering implicit rules for rhythm in Lux aeterna. By examining both the rules and their application in composition, with the exceptions that arise therein, we come to a better understanding of the aesthetic goals Ligeti's rules were devised to meet, and the balance of stricture and freedom that was essential to the composer's persona.

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