Ku Take The Music Creation And Its Concepts,

This dissertation studies the internationally influential Hungarian composer Kutag, focusing on his main works and composing ideas. The dissertation comprises three parts.The first part consists of three chapters, elaborating on Kutag's composing ideas, covering Hungarian traditional culture, western avant-garde music, western traditional music and other cultural phenomena. The twentieth century music saw a situation in which various musical styles and schools co-existed, developed, interweaved, confronted and originated, while Kutag demonstrates sensibility and sophistication in the face of both modern concepts and traditional ideas, and also a spirit that absorb wide diversities. He investigates into fields of literature, linguistics and psychology, converging and condensing various cultural and musical elements into his works.The second part starts with great details from the composing techniques that underpin Kutag's general musical thought, and analyze at full length his major works at different periods. Kutag's music of the first period shows characters of transformation and reconstruction, while that of the second period shows a trend towards vocal form. Kutag invested extreme enthusiasm in literature, and combined music and text into a concise, expressive and individual language. His music of the third period includes various elements. He gradually stepped out of the perplexity when facing massive force, and integrated concision and expression into works for massive instrument. In this period he produced some of his most important vocal pieces.The third part concludes the main characteristics of Kutag's music composition. It covers his 'microlude', his treatment of the relationship between music and literature, and the application of the form of rhythm and anthroposophy. The author also puts forward some thought-provoking questions, based upon his works with and without op.