Keywords
Ligeti, Lontano, Micropolifonía, Música Estática, Trascendencia, Inefable, Eugenio Trías, Ligeti, Lontano, Micropolyphony, Static Music, Transcendence, Ineffable, Eugenio Trías
Lontano. Lo inefable en la música de György Ligeti
Abstract
El capítulo analiza la capacidad de la música para acercarse a lo inefable a través de la obra de György Ligeti, especialmente Lontano. Partiendo de la insuficiencia del lenguaje para expresar ciertas experiencias afectivas y trascendentes, el autor presenta la música como un medio privilegiado para sugerir lo que permanece más allá de la razón discursiva. Se examinan elementos centrales del estilo de Ligeti, como la micropolifonía, la textura sonora, la organización rítmica compleja y la llamada música estática. El texto vincula estas características con experiencias infantiles del compositor y con su tendencia a asociar sonido, espacio y luz. Finalmente, se relaciona la escucha de Lontano con las reflexiones de Eugenio Trías sobre la música como arte fronterizo, capaz de abrir una experiencia sensible del límite entre fenómeno y noúmeno.
The chapter examines music’s capacity to approach the ineffable through the work of György Ligeti, with particular attention to Lontano. It begins from the idea that language is unable to fully express certain affective and transcendent experiences, presenting music as a privileged medium for suggesting what lies beyond discursive reason. The author discusses central features of Ligeti’s style, including micropolyphony, sonic texture, complex rhythmic organization and so-called static music. These musical procedures are linked to the composer’s childhood experiences and to his tendency to associate sound with space and light. Finally, the chapter connects the experience of listening to Lontano with Eugenio Trías’s reflections on music as a frontier art, capable of opening a sensory experience of the limit between phenomenon and noumenon.
The chapter examines music’s capacity to approach the ineffable through the work of György Ligeti, with particular attention to Lontano. It begins from the idea that language is unable to fully express certain affective and transcendent experiences, presenting music as a privileged medium for suggesting what lies beyond discursive reason. The author discusses central features of Ligeti’s style, including micropolyphony, sonic texture, complex rhythmic organization and so-called static music. These musical procedures are linked to the composer’s childhood experiences and to his tendency to associate sound with space and light. Finally, the chapter connects the experience of listening to Lontano with Eugenio Trías’s reflections on music as a frontier art, capable of opening a sensory experience of the limit between phenomenon and noumenon.
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