This Study examines the problem of ‘locality’, a remarkable feature of György Ligeti’s works since 1990s. In his Sonata for solo viola (1991-94), Hamburg Concerto for Solo Horn and Chamber Orchestra (1998-99/2002), and Síppal, dobbal, nádihegedűvel for mezzo-soprano and 4 percussionists (2000) is found the tone of Rumanian or Hungarian folk music evoking a locality. However, for Ligeti is the locality irrelevant to finding the Hungarian identity, rather it is related to traversing of various fields in order to interface his musical style with heterogeneous others. In the words of Deleuze-Guattari it can be called “absolute locality”: not to be limited to a local characteristic, but to be opened for all directions. In such a locality, like a close-up in filming, a shape is no more recognizable and it becomes prominent an affection of a concrete, tactual sense. This locality restricts not to an area and can be connected with others without abstracting its own quality. As a interesting musical example of “absolute locality” is mainly discussed a representative masterpiece of Ligeti's late works, Síppal, dobbal, nádihegedűvel, based on the lines of Hungarian Poet Sándor Weöres.
2. 90년대 이후 리게티 작품의 지도
3. 리게티의 작품 세계와 ‘국지성’
4. 《피리, 북, 깽깽이로》(2000)의 “절대적 국지성”
5. 나가며: 리게티 음악의 현재적 의미