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Beethovens „höhere Menschen“
IF 0.1 2区 艺术学
ARCHIV FUR MUSIKWISSENSCHAFT Pub Date : 2020-01-01 DOI: 10.25162/afmw-2020-0008
Jin-Ah Kim
{"title":"Beethovens „höhere Menschen“","authors":"Jin-Ah Kim","doi":"10.25162/afmw-2020-0008","DOIUrl":"https://doi.org/10.25162/afmw-2020-0008","url":null,"abstract":"This article investigates Beethoven’s term hohere Menschen (intellectual elite) from a historical and social perspective. The goal is to make Beethoven’s self-positioning and claims to distinction comprehensible within the historical and social conditions at that time. While Beethoven rejected the feudalistic principle of inborn status and supplanted it with the Enlightenment’s principal of equality, he nevertheless made elite claims to distinction based largely on the criteria of education, civilized behavior, and type of occupation. His positioning of himself in the group of hohere Menschen as well as his dissociation from the common citizen can be understood against the background of the then prevailing disparate social structure with its gradations between lower and higher levels.","PeriodicalId":42754,"journal":{"name":"ARCHIV FUR MUSIKWISSENSCHAFT","volume":"71 1","pages":"172-190"},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89902375","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The Logical Structure of Aristoxenus’s Theory of Music 论亚里士多德音乐理论的逻辑结构
IF 0.1 2区 艺术学
ARCHIV FUR MUSIKWISSENSCHAFT Pub Date : 2020-01-01 DOI: 10.25162/afmw-2020-0006
W. Detel
{"title":"The Logical Structure of Aristoxenus’s Theory of Music","authors":"W. Detel","doi":"10.25162/afmw-2020-0006","DOIUrl":"https://doi.org/10.25162/afmw-2020-0006","url":null,"abstract":"It has often been noted that Aristoxenus applied Aristotle’s philosophy of science to his theory of music, as Harmonics I-II presents principles and Harmonics III proofs of some theorems. This reading is rather superficial, however, since it relies on a vague notion of logic. In this paper the author shows: (i) that already in Harmonics I-II, Aristoxenus proves a number of theorems; (ii) that almost all proofs can be syllogistically reconstructed and do not involve inacceptable logical gaps; (iii) that the mathematical proofs are consistent with Aristoxenus’s program of an empirical theory of music; and (iv) that Aristoxenus’s Rhythmics contains a great number of theorems that are proved in a logically weaker sense as defined in Aristotle’s Topics.","PeriodicalId":42754,"journal":{"name":"ARCHIV FUR MUSIKWISSENSCHAFT","volume":"59 1","pages":"128-158"},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77554029","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Zur Tempodramaturgie von Liszts Symphonischen Dichtungen im Licht der Gattungstradition der Ouvertüre 来自李斯老师的交响乐
IF 0.1 2区 艺术学
ARCHIV FUR MUSIKWISSENSCHAFT Pub Date : 2020-01-01 DOI: 10.25162/afmw-2020-0001
Stefan Keym
{"title":"Zur Tempodramaturgie von Liszts Symphonischen Dichtungen im Licht der Gattungstradition der Ouvertüre","authors":"Stefan Keym","doi":"10.25162/afmw-2020-0001","DOIUrl":"https://doi.org/10.25162/afmw-2020-0001","url":null,"abstract":"In spite of its worsening reputation, especially in German music discourse, the overture contributed substantially to the development of nineteenth-century instrumental genres. This potential for innovation was largely a result of the integration of vocal material from the ensuing opera and its associated tempo changes. As seen in Mendelssohn and Wagner, this led to the hybridization of the sonata form, to the growth of slower episodes (especially at the beginning and end), and to symmetrical and teleological form concepts. Liszt defined his newly established symphonic poem as a “one-movement genre with changing tempo and meter.” The ways in which he radicalized the overture towards a flexible, individual tempo dramaturgy is demonstrated in Les Preludes , Tasso , and Hamlet .","PeriodicalId":42754,"journal":{"name":"ARCHIV FUR MUSIKWISSENSCHAFT","volume":"81 1","pages":"2-22"},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90288075","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Die Tonarten der klassischen Vokalpolyphonie im Konflikt der deutschen Musikwissenschaft 在德国音乐的冲突中古典元音的语调
IF 0.1 2区 艺术学
ARCHIV FUR MUSIKWISSENSCHAFT Pub Date : 2020-01-01 DOI: 10.25162/afmw-2020-0011
H. Loos
{"title":"Die Tonarten der klassischen Vokalpolyphonie im Konflikt der deutschen Musikwissenschaft","authors":"H. Loos","doi":"10.25162/afmw-2020-0011","DOIUrl":"https://doi.org/10.25162/afmw-2020-0011","url":null,"abstract":"Since its revival in German musicology in the 1950s, Renaissance research has been accompanied by a fundamental methodological dispute between Carl Dahlhaus and Bernhard Meier. In his habilitation thesis of 1968, Dahlhaus attacked Meier’s rigorously historical, early studies that were based on the definitive importance of church modes for sixteenth-century composition. Dahlhaus, on the other hand, propagated an authentic-plagal general mode in the development towards major-minor tonality. Meier offered a fundamental critique of this approach in his 1974 publication The Modes of Classical Vocal Polyphony. Initially exposed not only to objective criticism but also to hostility, its importance as a scholarly treatise, fundamental to the understanding of the sixteenth-century music, only came to be appreciated posthumously.","PeriodicalId":42754,"journal":{"name":"ARCHIV FUR MUSIKWISSENSCHAFT","volume":"46 1","pages":"239-253"},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80224701","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Eine unbeachtete Liederhandschrift des Nürnberger Dichters Sigmund von Birken (1626–1681) 这是纽伦堡诗人西格蒙德•伯克的歌曲手记(1626 / 1681)
IF 0.1 2区 艺术学
ARCHIV FUR MUSIKWISSENSCHAFT Pub Date : 2020-01-01 DOI: 10.25162/afmw-2020-0010
I. Scheitler
{"title":"Eine unbeachtete Liederhandschrift des Nürnberger Dichters Sigmund von Birken (1626–1681)","authors":"I. Scheitler","doi":"10.25162/afmw-2020-0010","DOIUrl":"https://doi.org/10.25162/afmw-2020-0010","url":null,"abstract":"This article examines the hymnological and historical significance of a manuscript (ca. 1670) from the archives of the Pegnesische Blumenorden. The forty hymns of the document are primarily melodies in thorough bass settings, their devotional texts deemed for the worship of Christ. It is unclear why Birken collected these songs—perhaps as a melodic source. The subjective choice of hymns of the Nuremberg poet and scholar demonstrates the wide range of his connections and associates. The collection influenced the local Nuremberg song tradition (cf. Johann Dretzel’s hymnbook, 1731) and beyond, while the manuscript offers many primary sources for texts and melodies as well as for later, commonly used music-text composites.","PeriodicalId":42754,"journal":{"name":"ARCHIV FUR MUSIKWISSENSCHAFT","volume":"39 1","pages":"223-238"},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82545481","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Wie die unvollendete Fuge aus Bachs Kunst der Fuge (BWV 1080) zur vollständigen instrumentalen Klangrede zu ergänzen wäre 如何用巴赫1080经济学家这门未完成的功夫来补充整体用词呢
IF 0.1 2区 艺术学
ARCHIV FUR MUSIKWISSENSCHAFT Pub Date : 2020-01-01 DOI: 10.25162/afmw-2020-0009
M. Peters
{"title":"Wie die unvollendete Fuge aus Bachs Kunst der Fuge (BWV 1080) zur vollständigen instrumentalen Klangrede zu ergänzen wäre","authors":"M. Peters","doi":"10.25162/afmw-2020-0009","DOIUrl":"https://doi.org/10.25162/afmw-2020-0009","url":null,"abstract":"The Roman orator’s six-part dispositio, described and applied to the analysis of Bach’s instrumental music in the author’s previous publications, can also be adopted in an attempt to complete the unfinished fugue in Bach’s Kunst der Fuge. An analysis of Bach’s unfinished score shows that he implemented the first two parts of the dispositio entirely and the third part only partially. Any attempt to complete the unfinished fugue must first conclude the third part of the dispositio and then implement the dispositio’s final three parts according to directions given by Bach in the existing score. Strict consideration of the fugue’s contrapuntal technique leads to the conclusion that Bach planned it as a quadruple fugue.","PeriodicalId":42754,"journal":{"name":"ARCHIV FUR MUSIKWISSENSCHAFT","volume":"104 1","pages":"191-222"},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82397632","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
„Vergnügen im Nichtwissen“ 无知的愉悦
IF 0.1 2区 艺术学
ARCHIV FUR MUSIKWISSENSCHAFT Pub Date : 2020-01-01 DOI: 10.25162/AFMW-2020-0004
Andreas Vejvar
{"title":"„Vergnügen im Nichtwissen“","authors":"Andreas Vejvar","doi":"10.25162/AFMW-2020-0004","DOIUrl":"https://doi.org/10.25162/AFMW-2020-0004","url":null,"abstract":"Recent contributions to Vladimir Jankelevitch’s philosophy of music that confine themselves to his Music and the Ineffable (1961) can lead to delusive truncations and remonstrations (“antirationalism,” “ideology”). With special emphasis on the terms “charm” and “metalogical intuition,” the essay shows that a relevant context would also need to include Jankelevitch’s treatises not directly related to music, various “life-philosophical” references, and certain forms of Russian philosophy (Losski, Frank). When these areas are taken into account, different questions arise. At the same time, peculiarities of Jankelevitch’s thinking (e. g. his apophatic method) become clearer, as in the relationship between “silence” and “engagement.”","PeriodicalId":42754,"journal":{"name":"ARCHIV FUR MUSIKWISSENSCHAFT","volume":"333 1","pages":"66-86"},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76594518","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Metamorphosen der Belle Hélène von Meilhac, Halévy und Offenbach 经过的百丽Héiène Meilhac赫尔évy和奥芬巴赫
IF 0.1 2区 艺术学
ARCHIV FUR MUSIKWISSENSCHAFT Pub Date : 2020-01-01 DOI: 10.25162/afmw-2020-0002
H. Schneider
{"title":"Metamorphosen der Belle Hélène von Meilhac, Halévy und Offenbach","authors":"H. Schneider","doi":"10.25162/afmw-2020-0002","DOIUrl":"https://doi.org/10.25162/afmw-2020-0002","url":null,"abstract":"La Belle Helene (1864) quickly became an international success. Directors und those responsible for arranging the score soon began to take fairly arbitrary liberties in their dealings with the libretto and music, presumedly in an attempt to adapt them to contemporary aesthetics or divergent cultural tastes. When Offenbach conducted the opera-bouffe in Berlin in 1865, he introduced a new overture, a substantial aria for Helene that replaced her couplet “La vrai, je ne suis pas coupable,” and other changes that had not yet appeared as alternative, authoritative versions in new editions. Four German versions (Fulda 1927, Reinhardt 1931, Finck 1946, and Hacks 1964) as well as the arrangement in English by Anderson and Rippley are analysed in detail.","PeriodicalId":42754,"journal":{"name":"ARCHIV FUR MUSIKWISSENSCHAFT","volume":"2 1","pages":"23-48"},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83847386","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The Italian Cantata in Vienna, 1713–1740: Repertoire and Sources 《维也纳意大利大合唱》，1713-1740年：剧目和来源
IF 0.1 2区 艺术学
ARCHIV FUR MUSIKWISSENSCHAFT Pub Date : 2019-10-01 DOI: 10.25162/afmw-2019-0011
Lawrence Bennett
{"title":"The Italian Cantata in Vienna, 1713–1740: Repertoire and Sources","authors":"Lawrence Bennett","doi":"10.25162/afmw-2019-0011","DOIUrl":"https://doi.org/10.25162/afmw-2019-0011","url":null,"abstract":"A constant stream of Italian chamber cantatas served as an important source of entertainment at the Viennese court of Emperor Charles VI (r. 1712-1740). A total of 183 extant cantatas found in thirty-six libraries and composed between 1716 and 1740 have been identified. The cantatas were written for one or a few voices with basso continuo accompaniment only, or with one or a few obbligato instruments. Ninety-five percent of the cantatas were composed by three composers: the Assistant Kapellmeister Antonio Caldara and the court composers Francesco Conti and Giuseppe Porsile. A handful of cantatas were provided by Giovanni Perroni, Francesco Borosini, Ignazio Maria Conti, Leopold Timmer, and Georg Reutter the Younger.","PeriodicalId":42754,"journal":{"name":"ARCHIV FUR MUSIKWISSENSCHAFT","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46095997","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Adorno, Schubert, Beethoven 阿多诺，舒伯特，贝多芬
IF 0.1 2区 艺术学
ARCHIV FUR MUSIKWISSENSCHAFT Pub Date : 2019-01-01 DOI: 10.25162/afmw-2019-0005
Julian Caskel
{"title":"Adorno, Schubert, Beethoven","authors":"Julian Caskel","doi":"10.25162/afmw-2019-0005","DOIUrl":"https://doi.org/10.25162/afmw-2019-0005","url":null,"abstract":"","PeriodicalId":42754,"journal":{"name":"ARCHIV FUR MUSIKWISSENSCHAFT","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.25162/afmw-2019-0005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69134034","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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