The Research To The Acoustics Organizing And Structural Form Of Helmut Lachenmann’s Works

Helmut Friedrich Lachenmann (1935-), a prominent German composer of modern period, who based on the tradition composition of the German&Austria to promote the music progressive with his creative style, all above make him to be one of most representative avant-grade composer of the second half20th century.The dissertation began with the analysis of acoustics organization and structural form of Lachenmann’s works, and to summarize his new concept and theory of which demonstrate with some magnum opus of his different period. In the Preface, the author try to explain the influence which from the philosophy in the20th century on his compositional ideal, and also include the dissertation’s aim and significance of the research of Lachemman’s works. Chapter I, the author first explain Lachemman’s Klangtypen der Neuen Musik, a fundamental theory which the composer advocated in the1960’s, and then to catalogue the instrumental method of the new special acoustic effect. Chapter II, the author not only defined the core concept of the same period, i.e."Musique Concrete Instrumental", but also to demonstrate the concept upon the analysis the feature of the acoustics with, two works of this kind, the pression for solo cello and air for orchestra and percussion. Chapter III focused on Aesthetic apparatus, a core idea of another period, upon the explanation of the definition, the author find out how the composer use the idea in distinct way in his three orchestra works:Accanto, Siciliano of Tanzsuite mit Deutschlandlied and Mouvement (-vor der Erstarrung). All above these, the author conclude the acoustics organization feature which is formed by the aural sensitivity used as a kind of congregation element. Chapter IV upon the explanations of all the new idea and theory about the congregation, the author discussed detailedly on the aural sensitivity that the gap between composers and auditors.The feature of acoustics organization and structural form in the Lachemann’s work exhibited different in each period. In1960’s, his attention is on to discover the new sounds so as to alter the species and combination of these sounds. At this period, all the research of this is based on the physical attribution of the sound, with the result he made the sound to be existed as not only to be treated as a unity but also progressive development. His contribution is to create a totally new sound experiment which upon his unique "ordered polyphony", that is formed by a sound structure which is combined with five sound of different gesture. In1970’s, his interesting turned to the aesthetic apparatus, the aural sensitive is used in the sound organization, so as to establish a new aural effect from the old and conventional method. As in the progression, the aural to exhibit to be familiar, expected, strange and accustomed, at last it formed it own meaning. All the conflicts and contradictions are demonstrated with the sound directly, beyond this, the sound blocks bend with the rhythmic elements which is prepared to combine with the sound in order to be metaphor of the social environment.Lachenmann’s view on the acoustics organization, the duty of composer and the relationship between composer and social is irradiative for us. His research and contemplation about the natural unknown, the inheriting and breakthrough of the German tradition music, and meditation about the social function of music make his composition have a profound aesthetic value, with doubt that it will be illumine our compositon in the future.