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„… so spanne mich doch aus!“ – Skordaturen und ihre Semantik in der Musik Alban Bergs 你挡住我了怎么用
IF 0.1 2区 艺术学
ARCHIV FUR MUSIKWISSENSCHAFT Pub Date : 2019-01-01 DOI: 10.25162/AFMW-2019-0006
P. Petersen
{"title":"„… so spanne mich doch aus!“ – Skordaturen und ihre Semantik in der Musik Alban Bergs","authors":"P. Petersen","doi":"10.25162/AFMW-2019-0006","DOIUrl":"https://doi.org/10.25162/AFMW-2019-0006","url":null,"abstract":"There are three types of scordaturas for stringed instruments (violins, guitar, harp, and piano): downward, upward, and diffuse. The more practically motivated cases of scordatura in Alban Berg’s works are irrelevant. Scordaturas with semantic function can be found in Wozzeck and the Lyric Suite . The downward scordatura signifies decay, death, and dying and is grounded in the idea of “release,” as evidenced in the Bach choral “It is enough.” The upward scordatura means madness and is motivated by the idea of “over-stretching,” which includes the potential breaking of a string. Diffuse scordatura is connected to the “destruction” of a social order; it can be seen in the tavern scene in Wozzeck where the piano is supposed to sound out of tune.","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":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69134243","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
Riemanns Tonvorstellungen oder Hornbostels Melodiegestalten? 黎曼的琴声还是号角的旋律?
IF 0.1 2区 艺术学
ARCHIV FUR MUSIKWISSENSCHAFT Pub Date : 2019-01-01 DOI: 10.25162/afmw-2019-0013
F. Maier
{"title":"Riemanns Tonvorstellungen oder Hornbostels Melodiegestalten?","authors":"F. Maier","doi":"10.25162/afmw-2019-0013","DOIUrl":"https://doi.org/10.25162/afmw-2019-0013","url":null,"abstract":"At the beginning of the twentieth century, Hugo Riemann (Leipzig) and the representatives of the Berlin school of music psychology (Stumpf, Hornbostel, and Lachmann) engaged in a fierce debate about the proper definition of the elements of music and basic musical processes. These discussions formed the background for Jacques Handschin’s inquiry into the fundamental principles of music.","PeriodicalId":42754,"journal":{"name":"ARCHIV FUR MUSIKWISSENSCHAFT","volume":"75 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69134065","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: 1
Auf dem Wasser gesungen 在水上唱歌
IF 0.1 2区 艺术学
ARCHIV FUR MUSIKWISSENSCHAFT Pub Date : 2019-01-01 DOI: 10.25162/afmw-2019-0010
Michele Calella
{"title":"Auf dem Wasser gesungen","authors":"Michele Calella","doi":"10.25162/afmw-2019-0010","DOIUrl":"https://doi.org/10.25162/afmw-2019-0010","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":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69133845","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 Bedeutung der Elektronik in Karlheinz Stockhausens Œuvre 以电子产品重要性Karlheinz StockhausensŒuvre
IF 0.1 2区 艺术学
ARCHIV FUR MUSIKWISSENSCHAFT Pub Date : 2018-01-01 DOI: 10.25162/afmw-2018-0009
Christoph von Blumröder
{"title":"Zur Bedeutung der Elektronik in Karlheinz Stockhausens Œuvre","authors":"Christoph von Blumröder","doi":"10.25162/afmw-2018-0009","DOIUrl":"https://doi.org/10.25162/afmw-2018-0009","url":null,"abstract":"","PeriodicalId":42754,"journal":{"name":"ARCHIV FUR MUSIKWISSENSCHAFT","volume":"5 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69133009","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
Atonale Musik in Russland um 1914 " 1914年俄罗斯无调音乐
IF 0.1 2区 艺术学
ARCHIV FUR MUSIKWISSENSCHAFT Pub Date : 2018-01-01 DOI: 10.25162/afmw-2018-0004
Michael Spors
{"title":"Atonale Musik in Russland um 1914","authors":"Michael Spors","doi":"10.25162/afmw-2018-0004","DOIUrl":"https://doi.org/10.25162/afmw-2018-0004","url":null,"abstract":"The abiding presence of the Schonberg School caused alternative attempts to overcome tonality to fall into oblivion. Beginning in the 1930s, Russian cultural policy, which actively opposed composers of so-called “New Music,” significantly contributed to a historical distortion that still exists today; conversely, Russian composers often set accents for Western developments, as seen in the Russian Futurists. Originally inspired by Skrjabin, the comparatively little-known Moscow composer Nikolai Roslawez became a leading figure of the Russian musical avant-garde of the 1920s. An analysis of the second of his Trois Etudes (1914) shows that a harmonic system already existed before the twelve-tone row, one that can claim no less radical consequences for the construction and realization of music.","PeriodicalId":42754,"journal":{"name":"ARCHIV FUR MUSIKWISSENSCHAFT","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69132863","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
Elly Ney als Kunstikone in der jungen BRD 艾利尼担任年轻德国美术老师
IF 0.1 2区 艺术学
ARCHIV FUR MUSIKWISSENSCHAFT Pub Date : 2018-01-01 DOI: 10.25162/afmw-2018-0007
Michael Custodis
{"title":"Elly Ney als Kunstikone in der jungen BRD","authors":"Michael Custodis","doi":"10.25162/afmw-2018-0007","DOIUrl":"https://doi.org/10.25162/afmw-2018-0007","url":null,"abstract":"Though careers in the Third Reich could not be made with any open opposition to the system, most of the compromised celebrities were able to convince the public of their personal integrity in postwar Germany. The lasting success of Elly Ney is an impressive example, since her support by the federal presidents Theodor Heuss and Heinrich Lubke offered her the aura of national legitimacy. At the same time, the press highlighted her enthusiasm for Hitler regularly, but not her anti-Semitic convictions. The dispute about her character was fiercely fought even within the German Federation of Trade Unions, which offers a symptomatic portrayal of the national climate in the 1950s and 60s.","PeriodicalId":42754,"journal":{"name":"ARCHIV FUR MUSIKWISSENSCHAFT","volume":"25 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69132986","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
„Gattung ade“! „Gattung ade”!
IF 0.1 2区 艺术学
ARCHIV FUR MUSIKWISSENSCHAFT Pub Date : 2018-01-01 DOI: 10.25162/afmw-2018-0002
Kateryna Schöning
{"title":"„Gattung ade“!","authors":"Kateryna Schöning","doi":"10.25162/afmw-2018-0002","DOIUrl":"https://doi.org/10.25162/afmw-2018-0002","url":null,"abstract":"","PeriodicalId":42754,"journal":{"name":"ARCHIV FUR MUSIKWISSENSCHAFT","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69133293","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
Musikpolitische Konstellationen in Thomas Manns Doktor Faustus 求求你
IF 0.1 2区 艺术学
ARCHIV FUR MUSIKWISSENSCHAFT Pub Date : 2018-01-01 DOI: 10.25162/afmw-2018-0011
Federico Celestini
{"title":"Musikpolitische Konstellationen in Thomas Manns Doktor Faustus","authors":"Federico Celestini","doi":"10.25162/afmw-2018-0011","DOIUrl":"https://doi.org/10.25162/afmw-2018-0011","url":null,"abstract":"A peculiarity of historical novels is the tension between literary fiction and historical narrative that itself is a generator for meaning. By virtue of his “montage technique,” Thomas Mann interweaves text, discourse, and protagonists from his historical and biographical environment and reworks them into components of an aesthetic whole. Additionally, configurations emerge in this literary fabric that allude to further connections that are not explicitly stated. They are of a fictitious nature that nevertheless permeate the historical and biographical background to which they are ambivalently related. This applies, among others, to Arnold Schoenberg and his twelve-tone technique as well as Theodor W. Adorno and his music aesthetics.","PeriodicalId":42754,"journal":{"name":"ARCHIV FUR MUSIKWISSENSCHAFT","volume":"199 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69133423","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
„So very German“ “非常德国”
IF 0.1 2区 艺术学
ARCHIV FUR MUSIKWISSENSCHAFT Pub Date : 2018-01-01 DOI: 10.25162/afmw-2018-0006
Giselher Schubert
{"title":"„So very German“","authors":"Giselher Schubert","doi":"10.25162/afmw-2018-0006","DOIUrl":"https://doi.org/10.25162/afmw-2018-0006","url":null,"abstract":"During the years of the Nazi regime, Paul Hindemith’s opera Mathis der Maler was regarded as the epitome of the aesthetic resistance movement against the regime, to quote Hans Heinz Stuckenschmidt. Performances were not allowed in Germany in spite of the plot being viewed as “German enough” in nature. The press reactions following the first performance 1938 in Zurich or the first German performance 1946 in Stuttgart show that this “Germanness” was instrumentalized for both the sake of the resistance and for assimilation to the Nazi regime, even though Hindemith’s strategies of a verdeckte Schreibweise (writing between the lines; see Dolf Sternberger) were not even recognized.","PeriodicalId":42754,"journal":{"name":"ARCHIV FUR MUSIKWISSENSCHAFT","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69132972","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 Bedeutung der Gluck-Interpretin für das Opernrepertoire des 19. Jahrhunderts 音乐表演者对19世纪歌剧曲目的意义世纪
IF 0.1 2区 艺术学
ARCHIV FUR MUSIKWISSENSCHAFT Pub Date : 2018-01-01 DOI: 10.25162/afmw-2018-0005
I. Zechner
{"title":"Die Bedeutung der Gluck-Interpretin für das Opernrepertoire des 19. Jahrhunderts","authors":"I. Zechner","doi":"10.25162/afmw-2018-0005","DOIUrl":"https://doi.org/10.25162/afmw-2018-0005","url":null,"abstract":"The transnational opera market of the nineteenth century was greatly influenced by the leading prima donnas of the time, who through their personal repertories exercised a direct impact on the international repertoire of opera houses’ chosen productions. This study evaluates the influence of Pauline Viardot-Garcia, Therese Tietjens, and Rosa Csillag on both the international reception as well as the transfer of Christoph Willibald Gluck’s works. Stagings of his operas together with performances of his arias, which were by comparison much more prevalent, are hereby considered with regard to the general critical reception of his music at that time.","PeriodicalId":42754,"journal":{"name":"ARCHIV FUR MUSIKWISSENSCHAFT","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69132952","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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