Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]最新文献

{"title":"Schoenberg – Schenker – Bach. A Harmonic, Contrapuntal, Formal Braid","authors":"M. Arndt","doi":"10.31751/1005","DOIUrl":"https://doi.org/10.31751/1005","url":null,"abstract":"This article follows on the heels of one by Holly Watkins, who argues that music, “a subsystem of the social system of communication,” can evoke the organic (the bodily and the psychic) not by forming a self-contained unity of parts and whole but through the “internal recursiveness” of musical works, their external “recursiveness vis-a-vis other music,” and – crucially – “the knowingness the music displays toward its own operations.” I adopt the premise that music evokes the organic most vividly not through recursive processes in individual systems but through the as-if intentional integration of such processes in multiple systems, of which I concern myself particularly with the harmonic, contrapuntal, and formal domains (or, more precisely, the motivic). I offer correctives to the organicist theories of Arnold Schoenberg and Heinrich Schenker, which similarly concern these domains, and especially to their reception. And I explore this direction through an analysis of J. S. Bach’s Prelude No. 7 in E-flat major from book 1 of The Well-Tempered Clavier, BWV 852, a singular piece that billows forth like an unfathomable blossom. \u0000 \u0000Dieser Artikel folgt einem Essay von Holly Watkins, in dem die Autorin argumentiert, dass Musik, »a subsystem of the social system of communication«, das Organische (das Korperliche und das Psychische) nicht durch die Bildung einer in sich geschlossenen Einheit von Teilen und Ganzem, sondern durch die »internal recursiveness« von Musikwerken, ihre ausere »recursiveness vis-a-vis other music« und – was entscheidend ist – durch »the knowingness the music displays toward its own operations« hervorrufen kann. Ich ubernehme die Voraussetzung, dass Musik das Organische nicht durch rekursive Prozesse in einzelnen Systemen, sondern durch die quasi-intentionale Integration solcher Prozesse in mehreren Systemen am anschaulichsten hervorruft, von denen ich mich insbesondere mit dem harmonischen, kontrapunktischen und formalen Bereich (oder, genauer gesagt, dem motivischen) beschaftige. Ich biete Korrekturen zu den organizistischen Theorien von Arnold Schonberg und Heinrich Schenker an, die diese Bereiche ebenfalls betreffen, und insbesondere zu ihrer Rezeption. Daruber hinaus erforsche ich diese Richtung durch eine Analyse von J. S. Bachs Praludium Nr. 7 in Es-Dur aus Buch 1 des Wohltemperierten Klaviers, BWV 852, einem einzigartigen Stuck, das sich wie eine unergrundliche Blute forttreibt.","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127125365","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Partituren zum Lesen und Schauen . Bildlichkeit als Merkmal graphischer Notation","authors":"G. Finke","doi":"10.31751/1001","DOIUrl":"https://doi.org/10.31751/1001","url":null,"abstract":"Graphische Notation betont die Bildlichkeit der Notation, d. h. das Schauen zugunsten des Lesens. Fur die Erforschung der bildlichen Dimension der Notation ist ein interdisziplinarer Dialog mit den Bildwissenschaften erforderlich. Dazu werden mogliche Perspektiven aufgezeigt, vor allem aus dem Bereich der Schriftbildlichkeit nach Sybille Kramer. Sie beschreibt fur die Schrift diagrammatische Regeln, die auch fur die standardisierte Funf-Linien-Notation benannt werden konnen. Diese Regeln werden in der graphischen Notation auser Kraft gesetzt. Dies wird an den Aspekten der raumlichen Organisation (Gerichtetheit) und des Graphismus (Zusammenspiel von Punkt, Linie, Flache) dargestellt. Der Komponist Anestis Logothetis befasste sich intensiv mit eben diesen Aspekten der Notation und entwickelte eine eigene, systematisch angelegte graphische Notation. Am Beispiel seiner Komposition Globus fur Vermeulenflote (1978) wird das Verhaltnis von Linie zur Flache untersucht. Der Briefwechsel zwischen Logothetis und der Interpretin Greta Vermeulen zeigt auf, wie sich dieses bildliche Verhaltnis aus musikalischer Perspektive gestaltet. \u0000 \u0000Graphic notation stresses the visual qualities of musical notation, i.e. the image as an item to be deciphered. Research on the visual aspects of notation demands a cross-disciplinary dialog with concepts from art theory and visual studies (›Bildwissenschaften‹). In particular, Sybille Kramer’s theory of notational iconicity offers new perspectives on musical notation. She defines so-called diagrammatic rules which can be applied to the standard notational system. These rules are deconstructed within graphic notation. This essay gives examples of spatial orientation or adjustment and graphism (i.e. the interplay of point, line, and space). The composer Anestis Logothetis explored these aspects of musical notation in detail and developed his own system of graphic notation. The example of his composition Globus fur Vermeulenflote (1978) shows how he designs the relationship between line and space. His letters to the performer Greta Vermeulen show the challenges of how the image is transferred into sound.","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130414413","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Wolfgang Böhmer, Versuche machen, verbessern, wagen. Kompositionsstrategien und musikalisches Denken bei Joseph Haydn, Würzburg: Königshausen & Neumann 2021","authors":"Michael Spors","doi":"10.31751/1178","DOIUrl":"https://doi.org/10.31751/1178","url":null,"abstract":"","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":"41 5","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114051030","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"»I repeat you without beginning or end«. Trauma, Spiegel und ›hypermediacy‹ in Michel van der Aas ›chamber opera‹ Blank Out (2015/16)","authors":"Elisabeth van Treeck","doi":"10.31751/1184","DOIUrl":"https://doi.org/10.31751/1184","url":null,"abstract":"","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133062859","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Die Aufnahme bestätigt die Regel. Analyse als Interpretation (Response)","authors":"Julian Caskel","doi":"10.31751/1135","DOIUrl":"https://doi.org/10.31751/1135","url":null,"abstract":"","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124463139","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Formgestaltung aus aufführungspraktischer Perspektive. Zur Interpretationsgeschichte von Beethovens 33 Veränderungen über einen Walzer von A. Diabelli op. 120","authors":"Thomas Glaser","doi":"10.31751/1128","DOIUrl":"https://doi.org/10.31751/1128","url":null,"abstract":"","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":"81 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122180815","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Expanding the Scope of Music Theory: Artistic Research in Music Performance","authors":"Mine Doğantan-Dack","doi":"10.31751/1169","DOIUrl":"https://doi.org/10.31751/1169","url":null,"abstract":"","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":"81 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124887435","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Karel Janeček − a leading figure in Czech music theory and pedagogy: his theoretical writings from the 1930s and 1940s","authors":"Miloš Hons","doi":"10.31751/1155","DOIUrl":"https://doi.org/10.31751/1155","url":null,"abstract":"","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131986659","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Sumanth Gopinath / Pwill ap Siôn (Hg.), Rethinking Reich, New York: Oxford University Press 2019","authors":"Tobias Robert Klein","doi":"10.31751/1136","DOIUrl":"https://doi.org/10.31751/1136","url":null,"abstract":"","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":" 61","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132010547","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"»Lost« »Beyond« »Improvisation«. Bericht von musiktheoretischer Partizipation an drei künstlerischen Promotionsvorhaben","authors":"G. Schröder","doi":"10.31751/1173","DOIUrl":"https://doi.org/10.31751/1173","url":null,"abstract":"","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115887923","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}