作曲家利盖蒂长期以来与哲学家阿多诺保持着通信联系，而且利盖蒂对20世纪后半叶的新音乐发展也具有重要的参照作用，但这些方面一直被人们所忽视。作者在考证大量史料的基础上，以开放的“音乐现代主义”概念为前提，结合对《伟大的死亡》等作品的分析与阐释，剖析了利盖蒂与阿多诺之间的理念关联，特别是阿多诺《困境》一文对利盖蒂的影响，重新审视了作曲家在现代主义中的地位与立场。本文最终认为，利盖蒂深受阿多诺的“否定性”与“非形象音乐”等理念的影响，以具有表现性与意象性的音乐瞬间来表达死亡等方式，瓦解了“保守”与“先锋”之间的二元对立，展现出“主观性”与“客观性”相结合的悖论美学。

György Ligeti has maintained a close exchange with Theodor W.Adorno from the mid-1960s until his death,and he also played an important role in new music since 1950.But these aspects are sometimes down- played in Musicology.Professor Jörn Peter Hiekel took the much more open concept of “musical modernism” as the premise,combined with the analysis and interpretation of Le Grand Macabre and other works,reconstructed the correspondence between Ligeti and Adorno, re-examined Ligeti's position in modernism.It came to the conclusion that Ligeti was deeply influenced by the concept of “negativity” and the idea of“musique informelle”,expressed the “death of music” with imaginary musical moments, disintegrated the binary opposition between “conserva- tism”and “avant -garde”,revealed the paradoxical aesthetics combining “subjectivity” and “objectivity” .