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

{"title":"Im Labyrinth – György Ligetis Étude pour piano Nr. 1 Désordre im Höranalyse-Unterricht","authors":"Irmgard Brockmann","doi":"10.31751/1153","DOIUrl":"https://doi.org/10.31751/1153","url":null,"abstract":"","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":"26 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":"116562108","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":"Performing Structure. Tempo in Glenn Gould’s “Goldberg Variations”","authors":"Michael Rector","doi":"10.31751/1121","DOIUrl":"https://doi.org/10.31751/1121","url":null,"abstract":"","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":"11 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":"130431388","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":"Kurtzer Unterricht was einen Organist[en] nötig zu wißen seÿ. Brief Instruction on What an Organist Must Know\u0000Edited and Translated by Derek Remeš","authors":"Johann Valentin Eckelt, Derek Remeš","doi":"10.31751/1012","DOIUrl":"https://doi.org/10.31751/1012","url":null,"abstract":"","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":"30 10","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120911987","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":"Halévy, fugue d’école und basse donnée","authors":"Birger Petersen","doi":"10.31751/1109","DOIUrl":"https://doi.org/10.31751/1109","url":null,"abstract":"Fuge als satztechnische Ubung – nach Cherubini die ideale Verbindung von strengem Kontrapunkt und freier Komposition – gehorte im 19. Jahrhundert an nahezu allen musikalischen Ausbildungsinstitutionen zum Standardrepertoire, so auch am Conservatoire de Paris: Die Wettbewerbsfugen zum Prix de Rome zeugen vom hohen Niveau der Ausbildung, auch wenn sich die kontrapunktische Ubung immer deutlicher von der kompositorischen Asthetik der Schreibenden entfernte. Anhand von Arbeiten Fromental Halevys wird dieses Niveau aufgezeigt. Dabei kommt sowohl der Schuler Halevy, der seine Wettbewerbsfuge 1819 unter dem Auge Cherubinis verfasste, zu Wort als auch der Lehrer Halevy, dessen Schulerarbeiten einen vergleichbaren Anspruch voraussetzten; stellvertretend wird eine Fuge des Halevy-Schulers Francois Bazin untersucht. Der abschliesende Blick auf eine von Halevy entworfene Aufgabe – einer basse donnee von 1842 – erweist auch fur dieses Repertoire die enge Verknupfung von Kontrapunkt einerseits und modellorientiertem Satz andererseits, die einander niemals ausschliesen. \u0000 \u0000In the nineteenth century, fugue as an exercise in compositional technique – according to Cherubini the ideal combination of strict counterpoint and free composition – was part of the standard curriculum of almost all music education institutions, including the Conservatoire de Paris. The competition fugues for the Prix de Rome testify to the high level of education provided, even if the contrapuntal exercise was becoming increasingly distant from the compositional aesthetics of the composers. Fromental Halevy’s works demonstrate this level of quality. The text will present the student Halevy, who wrote his competition fugue in 1819 under Cherubini’s eye, as well as the teacher Halevy, whose student works required a comparable standard; a fugue by Halevy’s student Francois Bazin is also examined. The concluding glance at an exercise designed by Halevy – a basse donnee from 1842 – also shows the close connection in this repertoire between counterpoint on the one hand and scheme-oriented movement on the other, which never exclude each other.","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":"92 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":"122908843","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":"wysiwy-WHAT?! – Von Nullen, Einsen und sinnhaften Überwältigungen in Alexander Schuberts Sensate Focus","authors":"Krystoffer Dreps","doi":"10.31751/1185","DOIUrl":"https://doi.org/10.31751/1185","url":null,"abstract":"","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":"46 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":"126852686","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":"Delphi in Schwarz und Weiß.. Bilder der Antike in Claude Debussys Klaviermusik","authors":"Tihomir Popović","doi":"10.31751/1149","DOIUrl":"https://doi.org/10.31751/1149","url":null,"abstract":"","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":"123 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":"132762303","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":"Harmony versus Voicing: Modeling Local-Level Salience and Stability in Jazz after 1960","authors":"Rich Pellegrin","doi":"10.31751/1162","DOIUrl":"https://doi.org/10.31751/1162","url":null,"abstract":"","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":"8 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":"114293858","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":"Nicholas Baragwanath, The Solfeggio Tradition. A Forgotten Art of Melody in the Long Eighteenth Century, New York: Oxford University Press 2020","authors":"Hans Aerts","doi":"10.31751/1112","DOIUrl":"https://doi.org/10.31751/1112","url":null,"abstract":"","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":"1 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":"115740834","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":"Verfahren der Modusdarstellung in Gioseffo Zarlinos Musici quinque vocum moduli","authors":"Roman Lüttin","doi":"10.31751/1159","DOIUrl":"https://doi.org/10.31751/1159","url":null,"abstract":"","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":"8 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":"125612713","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":"Thoroughbass Pedagogy Near Johann Sebastian Bach. Editions and Translations of Four Manuscript Sources","authors":"Derek Remeš","doi":"10.31751/997","DOIUrl":"https://doi.org/10.31751/997","url":null,"abstract":"My dissertation, which is currently in progress, attempts to reconstruct the compositional pedagogy of Johann Sebastian Bach using historical sources. In the course of my research I have come across four manuscript sources linked to Bach. Since I have outlined the historical and music-theoretical context of Bach’s pedagogy in greater detail elsewhere, such commentary is kept to a minimum here. The four sources are:","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":"8 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":"125621104","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}