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

{"title":"»Schließlich waren alle Genies der Kunst immerhin doch Männer …«. Zum Geniebegriff bei Heinrich Schenker","authors":"Marko Deisinger","doi":"10.31751/1104","DOIUrl":"https://doi.org/10.31751/1104","url":null,"abstract":"In seiner 1995 publizierten Dissertation zur ideengeschichtlichen Entwicklung von Schenkers Musiktheorie konnte Martin Eybl demonstrieren, dass das Konzept der Urlinie in enger Verbindung mit politischen Ideen entstand und im Kontext der politischen Umbruche nach dem Ersten Weltkrieg eine paradigmatische Funktion einnahm. Fur Schenker reprasentierte die durch Analyse offengelegte hierarchische Struktur des Tonsatzes ein Ordnungsgefuge, das ganz dem Ideal des von ihm in mehreren Schriften propagierten Herrschaftsmodells entsprach. Schenkers Weltbild war hierarchisch strukturiert, zugleich aber auch streng patriarchalisch. Angesichts der Tatsache, dass Schenker seine Theorie zu einer Zeit entwickelte, in der die alte burgerliche Geschlechterordnung durch sich wandelnde Rollenbilder von Mann und Frau in Frage gestellt wurde, erscheint es plausibel, nicht nur einen Zusammenhang zwischen Urlinie und politischer Uberzeugung, sondern auch einen Einfluss von Schenkers Geschlechterverstandnis auf seine Theorie anzunehmen. Diese Annahme wird durch den ausschlieslich mannlich konnotierten Geniebegriff, der in Schenkers Theorie eine zentrale Rolle spielt, bekraftigt. Unter Heranziehung von diversen Quellen wie Schenkers Schriften oder Dokumenten aus seinem Nachlass mochte der Artikel dieser Annahme nachgehen und dabei die Frage behandeln, ob und inwieweit Schenker in seiner Lehre Strategien zur Konstruktion von hegemonialer Mannlichkeit verfolgte. \u0000 \u0000In his 1995 dissertation on the development on Heinrich Schenker’s music theory in relation to the history of ideas, Martin Eybl demonstrated that the concept of Urlinie developed in relation to political ideas and assumed a paradigmatic function in the context of political upheaval after World War I. In Schenker’s view, the hierarchical structure of tonal music revealed through analysis represents a structural order in perfect agreement with the ideals of the model of governance he had promoted in several of his writings. Schenker’s worldview was hierarchically structured, and at the same time also strictly patriarchic. Given that Schenker developed his theory at a time when the traditional bourgeois hierarchy of gender was being called into question by shifting roles for men and women, it seems reasonable to assume not only a relationship between his Urlinie and his political convictions, but rather also the influence of Schenker’s understanding of gender roles on his theory. This assumption is strengthened by the concept of the male genius, which plays a central role in Schenker’s theory. Drawing on various sources such as Schenker’s writings and documents from his literary estate, this article investigates this assumption, addressing the overall question whether and to what degree Schenker employed strategies to construct hegemonic masculinity in his theoretical discourse.","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":"28 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":"116313700","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":"Arnold Jacobshagen (Hg.), Musik, die Wissen schafft. Perspektiven künstlerischer Musikforschung, Würzburg: Königshausen & Neumann 2020","authors":"Ariane Jeßulat","doi":"10.31751/1117","DOIUrl":"https://doi.org/10.31751/1117","url":null,"abstract":"","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":"29 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":"124061666","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":"Generalbass Schule. Thoroughbass School\u0000Edited and Translated by Derek Remeš","authors":"Johann Christian Kittel, Derek Remeš","doi":"10.31751/1013","DOIUrl":"https://doi.org/10.31751/1013","url":null,"abstract":"Generalbaß will so viel sagen, als eine zum Grund gelegte Baßnote, über welcher durch Ziefern diejenige Harmonie angezeiget wird, welche darzu soll gegriffen werden. In der Harmonie nun sind wegen des Übelklanges vier erlegte Fälle haüptsächlich zu vermeiden, nehmlich. 1.) offenbahre Octaven 2.) ofenbahre Quinten 3) verdeckte Octaven und Quinten und 4tens die Relatio non harmonica, oder der unharmonische Querstand. Diese Fehler zu vermeiden, so müßen sich die Stimmen auf eine solche Art aus einander und gegen einander bewegen, daß dieselben vermeidet werden. Dieser Arten von Bewegungen nun sind dreyerl[ey] nehmlich Motus rectus. Motus obliquus und Motus contrarius. Thoroughbass is when a bass note is taken as a foundation, and figures placed above it indicate the harmony that should be played. In harmony there are four cases that should be avoided on account of the resulting discord: namely (1) parallel octaves, (2) parallel fifths, (3) hidden octaves and fifths, and (4) the nonharmonic relation, or non-harmonic cross relation. In order to avoid these errors, the voices must move in such a manner away from and towards each other that the errors are avoided. These types of motion are threefold, namely motus rectus, motus obliquus, and motus contrarius.1","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":"124908792","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":"Urlinie und Zwölftonreihe als Zeitgenossinnen","authors":"Martin Eybl","doi":"10.31751/1141","DOIUrl":"https://doi.org/10.31751/1141","url":null,"abstract":"","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":"99 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":"131484788","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":"Steven Vande Moortele, The Romantic Overture and Musical Form from Rossini to Wagner, Cambridge: Cambridge University Press 2017","authors":"Ariane Jeßulat","doi":"10.31751/1026","DOIUrl":"https://doi.org/10.31751/1026","url":null,"abstract":"","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":"27 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":"133715335","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":"Das Menschliche in der Musik . August Halms prozessuale Metaphorik im Brennpunkt analysetheoretischer Fragestellungen","authors":"Astrid Bolay","doi":"10.31751/1148","DOIUrl":"https://doi.org/10.31751/1148","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":"134413640","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":"Zoltán Kodálys Harmonielehre – ein Rekonstruktionsversuch","authors":"A. Dalos","doi":"10.31751/1152","DOIUrl":"https://doi.org/10.31751/1152","url":null,"abstract":"","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":"47 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":"130082094","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":"Überlieferte Tempoangaben im 17. und 18. Jahrhundert und ihre mögliche Übertragung auf Bachs ›Goldberg-Variationen‹","authors":"M. Hell","doi":"10.31751/1122","DOIUrl":"https://doi.org/10.31751/1122","url":null,"abstract":"","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":"59 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":"114803008","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":"Henrike Rost, Musik-Stammbücher. Erinnerung, Unterhaltung und Kommunikation im Europa des 19. Jahrhunderts (= Musik – Kultur – Gender, Bd. 17), Wien: Böhlau 2020","authors":"Patrick Becker-Naydenov","doi":"10.31751/1151","DOIUrl":"https://doi.org/10.31751/1151","url":null,"abstract":"","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":"28 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":"123036633","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":"Über den »unisonierenden Dualismus« im ersten Satz von Schuberts Streichquartett G-Dur, D. 887","authors":"Sebastian Urmoneit","doi":"10.31751/1175","DOIUrl":"https://doi.org/10.31751/1175","url":null,"abstract":"","PeriodicalId":228522,"journal":{"name":"Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]","volume":"751 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":"123041909","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}