Amy Bauer is Associate Professor of Music at the University of California, Irvine. She received her PhD in music theory from Yale University, and has published articles in Music Analysis, The Journal of Music Theory, Contemporary Music Review, Indiana Theory Review and Ars Lyrica, and book chapters on the music of Ligeti, Messiaen, Chávez, Lang, the television musical, modernist opera and issues in the philosophy and reception of modernist music. Her monograph Ligeti’s Laments: Nostalgia, Exoticism and the Absolute (2011) provides a critical analysis of the composer’s works, considering both the compositions themselves and the larger cultural implications of their reception.Márton Kerékfy is Research Fellow at the Budapest Bartók Archives, Editor of the Béla Bartók Complete Critical Edition and Editor-in-Chief at Editio Musica Budapest. He studied musicology and composition at the Franz Liszt Academy of Music in Budapest and received his PhD in musicology from the same institution. His doctoral thesis (2014) explores the influence of East European folk music in György Ligeti’s music. He has published articles on the music of Ligeti and Bartók in, among others, Tempo, Studia Musicologica and Mitteilungen der Paul Sacher Stiftung. He translated into Hungarian and edited Ligeti’s selected writings (2010).

Select Guide Rating

• IntroductionAmy Bauer and Márton KerékfyPart I, Creative Personality and Aesthetics1 Music in the Technological EraGyörgy Ligeti with Hans Heinz Stuckenschmidt, translated and annotated by Louise Duchesneau2 ‘…music is a bit like love – you do it but you don’t talk about it’Louise Duchesneau3 The Innate MelodistRichard Steinitz4 Ligeti’s Musical Style as Expression of Cultural TraumaWolfgang Marx5 Making It Home? The Natural Sciences as a Site of Belonging in György Ligeti’s MusicFrederik KnopPart II, Influences and Backgrounds6 Reflections on Ligeti’s Jewish Identity Following the Discovery of New Documents from his Cluj YearsHeidy Zimmermann7 Ligeti and Romanian Folk Music: An Insight from the Paul Sacher FoundationBianca Ţiplea Temeş8 Ligeti and the Beginnings of Bartók Analysis in HungaryAnna Dalos9 Bartók, Ligeti and the Innovative Middle RoadPeter Edwards10 From Row to Klang: Ligeti’s Reception of Anton Webern’s MusicIngrid PustijanacPart III, Works11 Genre as Émigré: The Return of the Repressed in Ligeti’s Second QuartetAmy Bauer12 Sketches Reflecting the Images of San FranciscoKyoko Okumura13 Ironic Self-Portraits? Ligeti’s Hungarian Rock and Passacaglia unghereseMárton Kerékfy14 Tragedy and Irony: The Passacaglia of the Violin ConcertoVolker Helbing

Amy Bauer is Associate Professor of Music at the University of California, Irvine. She received her PhD in music theory from Yale University, and has published articles in Music Analysis, The Journal of Music Theory, Contemporary Music Review, Indiana Theory Review and Ars Lyrica, and book chapters on the music of Ligeti, Messiaen, Chávez, Lang, the television musical, modernist opera and issues in the philosophy and reception of modernist music. Her monograph Ligeti’s Laments: Nostalgia, Exoticism and the Absolute (2011) provides a critical analysis of the composer’s works, considering both the compositions themselves and the larger cultural implications of their reception.Márton Kerékfy is Research Fellow at the Budapest Bartók Archives, Editor of the Béla Bartók Complete Critical Edition and Editor-in-Chief at Editio Musica Budapest. He studied musicology and composition at the Franz Liszt Academy of Music in Budapest and received his PhD in musicology from the same institution. His doctoral thesis (2014) explores the influence of East European folk music in György Ligeti’s music. He has published articles on the music of Ligeti and Bartók in, among others, Tempo, Studia Musicologica and Mitteilungen der Paul Sacher Stiftung. He translated into Hungarian and edited Ligeti’s selected writings (2010).

Select Guide Rating

• IntroductionAmy Bauer and Márton KerékfyPart I, Creative Personality and Aesthetics1 Music in the Technological EraGyörgy Ligeti with Hans Heinz Stuckenschmidt, translated and annotated by Louise Duchesneau2 ‘…music is a bit like love – you do it but you don’t talk about it’Louise Duchesneau3 The Innate MelodistRichard Steinitz4 Ligeti’s Musical Style as Expression of Cultural TraumaWolfgang Marx5 Making It Home? The Natural Sciences as a Site of Belonging in György Ligeti’s MusicFrederik KnopPart II, Influences and Backgrounds6 Reflections on Ligeti’s Jewish Identity Following the Discovery of New Documents from his Cluj YearsHeidy Zimmermann7 Ligeti and Romanian Folk Music: An Insight from the Paul Sacher FoundationBianca Ţiplea Temeş8 Ligeti and the Beginnings of Bartók Analysis in HungaryAnna Dalos9 Bartók, Ligeti and the Innovative Middle RoadPeter Edwards10 From Row to Klang: Ligeti’s Reception of Anton Webern’s MusicIngrid PustijanacPart III, Works11 Genre as Émigré: The Return of the Repressed in Ligeti’s Second QuartetAmy Bauer12 Sketches Reflecting the Images of San FranciscoKyoko Okumura13 Ironic Self-Portraits? Ligeti’s Hungarian Rock and Passacaglia unghereseMárton Kerékfy14 Tragedy and Irony: The Passacaglia of the Violin ConcertoVolker Helbing

Amy Bauer is Associate Professor of Music at the University of California, Irvine. She received her PhD in music theory from Yale University, and has published articles in Music Analysis, The Journal of Music Theory, Contemporary Music Review, Indiana Theory Review and Ars Lyrica, and book chapters on the music of Ligeti, Messiaen, Chávez, Lang, the television musical, modernist opera and issues in the philosophy and reception of modernist music. Her monograph Ligeti’s Laments: Nostalgia, Exoticism and the Absolute (2011) provides a critical analysis of the composer’s works, considering both the compositions themselves and the larger cultural implications of their reception.Márton Kerékfy is Research Fellow at the Budapest Bartók Archives, Editor of the Béla Bartók Complete Critical Edition and Editor-in-Chief at Editio Musica Budapest. He studied musicology and composition at the Franz Liszt Academy of Music in Budapest and received his PhD in musicology from the same institution. His doctoral thesis (2014) explores the influence of East European folk music in György Ligeti’s music. He has published articles on the music of Ligeti and Bartók in, among others, Tempo, Studia Musicologica and Mitteilungen der Paul Sacher Stiftung. He translated into Hungarian and edited Ligeti’s selected writings (2010).

Select Guide Rating

• IntroductionAmy Bauer and Márton KerékfyPart I, Creative Personality and Aesthetics1 Music in the Technological EraGyörgy Ligeti with Hans Heinz Stuckenschmidt, translated and annotated by Louise Duchesneau2 ‘…music is a bit like love – you do it but you don’t talk about it’Louise Duchesneau3 The Innate MelodistRichard Steinitz4 Ligeti’s Musical Style as Expression of Cultural TraumaWolfgang Marx5 Making It Home? The Natural Sciences as a Site of Belonging in György Ligeti’s MusicFrederik KnopPart II, Influences and Backgrounds6 Reflections on Ligeti’s Jewish Identity Following the Discovery of New Documents from his Cluj YearsHeidy Zimmermann7 Ligeti and Romanian Folk Music: An Insight from the Paul Sacher FoundationBianca Ţiplea Temeş8 Ligeti and the Beginnings of Bartók Analysis in HungaryAnna Dalos9 Bartók, Ligeti and the Innovative Middle RoadPeter Edwards10 From Row to Klang: Ligeti’s Reception of Anton Webern’s MusicIngrid PustijanacPart III, Works11 Genre as Émigré: The Return of the Repressed in Ligeti’s Second QuartetAmy Bauer12 Sketches Reflecting the Images of San FranciscoKyoko Okumura13 Ironic Self-Portraits? Ligeti’s Hungarian Rock and Passacaglia unghereseMárton Kerékfy14 Tragedy and Irony: The Passacaglia of the Violin ConcertoVolker Helbing