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

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.

The impact of restorative audio-visual environment learning on the 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.

Synthesis of Technique (1962–67)

Ligeti’s first major commissio brought him some security, and with it the chance to focus on codifying the compositional techniques he had developed during the previous years. The sketches for the Requiem—especially the Kyrie and Dies irae movements—show explicit forms of rulemaking that differ from those associated with Boulez, Stockhausen, and others using the integral serial approach. Ligeti’s approach to rhythm is further refined in Lux aeterna and Lontano, and the Cello Concerto represents the synthesis of the static and wild textures developed so meticulously in the previous works. The Cello Concerto also reuses types of musical material created in Aventures, referencing specific episodes from the earlier work in an instrumental setting.

In A Deepening Light: Musica nova Helsinki 2017

As the audience's rustling quietens along with the memories of everyday pulses, ethereal sounds appear. We are at Helsinki's iconic Rock Church, on the eighth night of the biennial Musica nova festival for contemporary music. The Helsinki Chamber Choir sound the first, lingering lines of György Ligeti's Lux Aeterna from the balcony, behind the audience. The peculiar acoustics give the illusion that the choir is hidden in between the crevasses and cracks of the stone wall in front. The listener is surrounded. Marvellously kept together by Nils Schweckendiek, the singers transform the colour of their voices into sine-tones and oboes in a strangely soothing way. This rendition now somewhat more present than the night before, when the choir echoed the same micropolyphonic lines across the aula of the Kiasma art museum. There the cool distance of the work really spoke in a mesmerising way, with an unreachable caress.