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

{"title":"Interpretation of Cyclic Form in Bach’s “Goldberg Variations” through Performance History","authors":"Majid Motavasseli","doi":"10.31751/1119","DOIUrl":"https://doi.org/10.31751/1119","url":null,"abstract":"","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":"79 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":"133131418","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":"Ascanio Mayones und Girolamo Frescobaldis Ancidetemi pur. Zur Praxis der ›intavolar diminuito‹ in Italien zu Beginn des 17. Jahrhunderts","authors":"G. Michelini","doi":"10.31751/1188","DOIUrl":"https://doi.org/10.31751/1188","url":null,"abstract":"","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":"33 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":"116599546","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":"New Sources and Old Methods. Reconstructing and Applying the Music-Theoretical Paratext of\u0000Johann Sebastian Bach’s Compositional Pedagogy","authors":"Derek Remeš","doi":"10.31751/1015","DOIUrl":"https://doi.org/10.31751/1015","url":null,"abstract":"In attempting to determine how Johann Sebastian Bach taught composition, this article draws on recent archival discoveries to claim that it was not the ornamented, vocal Choralgesange, but the simpler, thoroughbass-centered Choralbuch style that played a central role in Bach’s pedagogy. Fascinatingly, many newly-rediscovered chorale books from Bach’s milieu contain multiple basses under each melody, suggesting that Bach too may have employed this technique. What theoretical perspectives shall we bring to bear on this long-lost multiple-bass chorale tradition? This article asserts that it is a fallacy to assume that any pattern-yielding methodology offers a valid window into Bach’s teaching. Rather, an attempt is made to recover modes of music-theoretical understanding that existed contemporaneously with Bach. Such a coterminous theoretical “paratext” potentially offers more insight into Bach’s pedagogy because it establishes a horizon of possibilities from which we can draw when examining multiple-bass composition. Foremost within this paratextual horizon is the centrality of thoroughbass for Bach’s understanding of composition. In particular, Bach was immersed in the pre-Rameau thoroughbass tradition as represented by the writings of Johann David Heinichen. In contrast to many modern harmonic perspectives, chordal roots and root progressions played little to no role in the pre-Rameau thoroughbass tradition. Dissonance was understood not harmonically, but dyadically in terms of syncopatio (suspension) and transitus (passing and neighbor) figures. Drawing from a variety of sources from Bach’s circle, particularly those of his pupil, Johann Christian Kittel, this article posits that Bach may have understood multiple-bass chorale harmonization in terms of interlocking clausulae – that is, as a series of overlapping cadential modules. In sum, this article contributes to an ongoing revisionist project of recent years that aims to elevate early eighteenth-century thoroughbass from mere “pre-theoretical” accompaniment practice to its true place as the theoretical and practical basis of compositional understanding in Bach’s day. \u0000 \u0000In der Absicht zu rekonstruieren, wie Johann Sebastian Bach Komposition unterrichtete, und ausgehend von Archivfunden aus jungster Zeit stellt dieser Artikel die Behauptung auf, dass nicht die reich ausgestalteten, vokalen Choralgesange, sondern der einfachere, generalbassbasierte Choralbuch-Stil in Bachs Padagogik eine zentrale Rolle spielte. Faszinierenderweise enthalten viele neu aufgefundene Choralbucher aus Bachs Umfeld mehrere Bassstimmen unter jeder Melodie, was nahelegt, dass auch Bach diese Technik angewandt haben konnte. Welche theoretischen Perspektiven sind aus dieser lange Zeit aus dem Blick geratenen Tradition des Choralsatzes mit multiplen Bassen abzuleiten? Dieser Artikel bezweifelt, dass eine auf historisch spateren Denkweisen basierende Methodik tragfahige Perspektiven auf Bachs Unterricht gewahren kann. Stat","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":"57 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":"122311041","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":"Semidissonanzen. Ein Beitrag zur Didaktik der Harmonielehre","authors":"H. Aerts","doi":"10.31751/1023","DOIUrl":"https://doi.org/10.31751/1023","url":null,"abstract":"Der Beitrag bietet Anregungen fur eine Didaktik zur Einfuhrung in die Organisation tonaler Mehrstimmigkeit, bei der das Umkehrungsprinzip nicht von Anbeginn als Postulat gesetzt, sondern im Lauf eines Kontrapunktlehrgangs begreiflich gemacht wird als eine Antwort auf theoretische und praktische Probleme, auf die Musiker spatestens im 18. Jahrhundert gestosen sind. Hervorgehoben wird hier die Auseinandersetzung mit einer besonderen Art der Dissonanzbehandlung, die dazu fuhrte, dass bestimmte dissonante Klange als unmittelbare harmonische Entitaten herausgehoben wurden, u. a. als ›Dominantseptakkord‹. Andererseits wird hingewiesen auf Unterschiede in der Bedeutung von Tonen innerhalb von Klangen, die durch das Umkehrungsprinzip aus dem Blickfeld zu geraten drohen. Der Ansatz verfolgt somit das Ziel, Schuler*innen und Studierende erkennen zu lassen, dass das Umkehrungsdenken altere Vorstellungen uberlagert, aber nicht ausgeloscht hat, und dass sie beide Sichtweisen je nach satztechnischer und analytischer Fragestellung gleichermasen einnehmen konnen. \u0000 \u0000This article offers suggestions for a teaching method that introduces students to the organization of tonal music without positing the inversion principle right from the start. Instead, this principle is introduced as an answer to theoretical and practical problems that preoccupied musicians by the early eighteenth century at the latest. One of these problems included the explanation of a particular kind of dissonance treatment. One solution was to single out certain dissonant sounds as immediate harmonic entities, for example the “dominant seventh chord.” Attention is drawn to differences in the meaning of tones within chords that tend to be obscured by the inversion principle. The pedagogical goals of this method are: (1) to allow students to realize that harmonic thinking based on the inversion principle has superimposed on, but not wiped out, older concepts; and (2) to enable students to adopt both perspectives, depending on the compositional and analytical questions on hand.","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":"61 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":"126175851","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":"Gemessenes Wandern. Zur performativen Umsetzung von Tempo-Taktart-Korrespondenzen in Schuberts Winterreise","authors":"Kilian Sprau","doi":"10.31751/1133","DOIUrl":"https://doi.org/10.31751/1133","url":null,"abstract":"","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":"40 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":"115683000","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":"“Use 19 Metal Pieces of Approximately the Same Timbre”. An Analysis of Twelve Recorded Performances of Xenakis’s Métaux (Pléïades)","authors":"Diederik Mark de Ceuster","doi":"10.31751/1106","DOIUrl":"https://doi.org/10.31751/1106","url":null,"abstract":"The sixxen is a microtonal percussion instrument designed by Iannis Xenakis for Metaux and Melanges from his 1978 composition Pleiades. The instructions for building this instrument are non-specific; the timbre of the instrument and its specific pitch content are up for the constructor to determine. This has resulted in a number of various sixxen sets used by numerous ensembles that are completely different in their (microtonal) temperament, microtonal pitch series, ambitus, and timbre. This article seeks to explore the aesthetic impact of the indeterminate building instructions of the sixxen by comparing performances of various ensembles and their sixxen sets. Referring both to spectral analysis and the listener’s experience, this article analyzes twelve performances of Metaux for their pitch content and timbre. In the preface to the score of Pleiades, Xenakis describes that the primordial element of the work is rhythm; strong periodic elements are repeated, and then superposed to form “arhythmic clouds of sound.” In comparing the various sixxen sets, this article shows that in some performances the periodic elements are heavily emphasized, whereas in others the sixxens increase the merging of sounds, which de-emphasizes rhythmic structures in favor of so-called “arhythmic clouds.” \u0000 \u0000Das Sixxen ist ein Schlaginstrument, das Iannis Xenakis fur die Satze Metaux und Melanges seines 1978 komponierten Zyklus Pleiades entworfen hat. Xenakis’ Bauanleitung lasst offen, welche Tonhohen und Klangfarben das Instrument produzieren soll. Daher verwenden Ensembles bei der Auffuhrung dieser Stucke unterschiedliche Sixxen-Sets, die sich in ihrer (mikrotonalen) Stimmung, ihrem Tonvorrat, ihrem Ambitus und ihrer Klangfarbe stark unterscheiden. In diesem Artikel wird die asthetische Wirkung der unbestimmten Bauanweisungen der Sixxen untersucht, indem Auffuhrungen verschiedener Ensembles und ihrer jeweils verwendeten Sixxen-Sets miteinander verglichen werden. Mittels Spektralanalyse und unter Bezugnahme auf die Horerfahrung werden zwolf Auffuhrungen von Metaux auf ihren Tonhohengehalt und ihre Klangfarbe hin analysiert. Im Vorwort zur Partitur von Pleiades schreibt Xenakis, dass der vorrangige Aspekt des Werks der Rhythmus sei. Periodische Elemente werden wiederholt und dann zu ›arhythmischen Klangwolken‹ uberlagert. Der Interpretationsvergleich ergibt hingegen, dass in einigen Auffuhrungen die periodischen Elemente stark betont werden, wahrend in anderen Auffuhrungen die Sixxen die Verschmelzung von Klangen verstarken, wodurch die rhythmischen Strukturen zugunsten dieser ›Klangwolken‹ zurucktreten.","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":"52 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":"132069337","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":"Diesen Kurtzen Unterricht wie man eine Fuga oder Præludium formiren und einrichten soll. This Short Instruction How One Should Form and Arrange a Fugue or Prelude.\u0000Edited and Translated by Derek Remeš","authors":"Johann Valentin Eckelt, Derek Remeš","doi":"10.31751/998","DOIUrl":"https://doi.org/10.31751/998","url":null,"abstract":"","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":"16 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":"124269051","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 doch gründlicher Unterricht vom General-Baß. Brief Yet Fundamental Instruction in Thoroughbass\u0000Edited and Translated by Derek Remeš","authors":"F. Praetorius, Derek Remeš","doi":"10.31751/1014","DOIUrl":"https://doi.org/10.31751/1014","url":null,"abstract":"Fundamentum Baseos sive Basis Generalis ist Trias harmonica, welche in demselben überall dominiret, diese Trias aber bestehet in dreyen sonis, welche zusammen eine qvintam mit ihrer eingefasten tertia machen, und können diese als {c, e, g} tres soni füglich also genennet werden und unterscheiden The foundation of the bass, or thoroughbass, is the trias harmonica, which predominates everywhere therein. But this trias consists of three pitches, which are together a fifth and the third contained within it. One can appropriately call the three pitches {c, e, g} as follows:","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":"57 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":"124341092","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":"“… because there is nothing symbolic in the described phenomenon”. Asafyev’s Intonation Theory in the Early Soviet Union – Analytical Insights, Intellectual Contexts, and Semiotic Perspectives","authors":"Patrick Becker-Naydenov","doi":"10.31751/1150","DOIUrl":"https://doi.org/10.31751/1150","url":null,"abstract":"","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":"18 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":"115362573","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":"Bogen – Kreis – Spirale. Formanalytische Denkfiguren im musiktheoretischen Diskurs über das Orchestervorspiel zu Richard Wagners Tristan und Isolde","authors":"P. Rudolph","doi":"10.31751/1187","DOIUrl":"https://doi.org/10.31751/1187","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":"129410788","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}