Sächsische Landesbibliothek - Staats- und Universitätsbibliothek Dresden (SLUB): Qucosa
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Of Genre, System and Process: Music Theory in a “Global Sonorous Space”
No full textDrawing on Jean-Luc Nancy’s concept of a “global sonorous space”, this essay considers the radical nature of today’s listening environment; an environment saturated with musics from around the world. Made possible by such technologies as recording, ipods and the internet, any music can be anywhere at any given time. This situation has profound implications for traditional notions of genre in which musical systems and cultures are treated as isolated from one another; namely it can be argued that these systems are far more interconnected and dynamic than is generally thought. Following Michael Tenzer’s speculation about the potential for a “world music theory”, a conceptual space is laid out in which such a theory could be founded. This space is modelled upon concepts developed by Gilles Deleuze and Félix Guattari such as the rhizome, smooth space and the idea of unstable systems “at the edge of chaos”
Deutsche Riesenschecke
No full textIn einer Faltblattreihe wird über die sechs gefährdeten einheimischen Kaninchenrassen Sachsengold, Angorakaninchen, Meißner Widder, Weiße Neuseeländer, Deutsche Riesenschecke und Hermelinkaninchen informiert. Die Flyer geben Auskunft zu Zuchtgeschichte, Kennzeichen, Haltung und Bestandsentwicklung. Ziel ist es, den Schutz gefährdeter Rassen zu unterstützen und mehr Züchter für deren Erhalt zu gewinnen. Dazu sind Ansprechpartner mit Kontaktdaten aufgelistet.
Redaktionsschluss: 25.09.202
Hässliche Musik: Parodie, Deformation, Entstellung und Negativ-Schönes in Richard Wagners Ring des Nibelungen
No full textAesthetics in the second half of the 19th century (Carl Rosenkranz, Christian Hermann Weisse) never defines the ugly as an independent category, but rather derives it from the idea of beauty. Ugliness is either understood in a dialectic way as the negation of beauty or as a decadent transformation of beauty becoming funny or even ridiculous. Rosenkranz even comprehends lies and madness as deformations of a former beauty. Taking deformation as a criterion for musical analysis, however, can hardly be successful as any variational development of a motif entails a kind of deformation. In Richard Wagner’s Ring des Nibelungen musical ugliness is rendered by a variety of features. The figure of Mime seems to be least complicated for musical analysis in this respect, since Wagner creates a kind of self-analytical distance by designing Mime as an old-fashioned and anachronistic character, making him a precise counterpart to the modern genius incorporated into the musical idiom of Siegfried. The difference between craftsmanship on the one side and creation on the other side is, therefore, no longer a matter of style, it becomes more and more aporetic to separate a “beautiful” from an “ugly” idiom by an analysis of the musical score alone. The musical idiom of Alberich, through which the idea of Evil is probably articulated in the most obvious manner, may be analyzed under the perspectives of deformation as symbolized by the diminished chord which is a key element of this idiom. This article gives a number of further examples of Wagner’s musical conceptualization of ugliness in the Ring. Music aesthetics and music theory merge in the idea of a deficient beauty (“Negativ-Schönes”) which takes a significant role within this process
No Adornian Godfather?
No full textThere is no doubt that Theodor W. Adorno impacted the American and British Musicology and Music Theory movements – in particular, his Philosophy of New Music and Dialectic of Enlightenment are major works that are still discussed. However, his role in America and Britain was quite different from his position in Germany. His immense support for Schönberg, his tremendous aesthetic tirades against Stravinsky, the “point-zero-situation” after World War II and the misperception of his approach to serialism – he was not an advocate, but a critic – were major grounds upon which German avant-garde music was based. Avant-garde in Germany without Adorno – what would that be? In that context, his impact on German musicology is interesting to explore. His writings, although often sharpened by harsh, non-deductive and even highly subjective aesthetic evaluations (cf. his gloss on Sibelius), set the philosophical basis from which every (German) musicologist had to start his line of argument. Even if someone did not agree with Adorno, it was unthinkable within German musicological discourse not to discuss him. The long-standing discourse between Dahlhaus and Eggebrecht would have run differently without Adorno’s almost almighty habitus. This article compares selected twentieth-century British musicologists, their roles in academia and their methodological approaches with Adorno’s. Two possible candidates for a “British Adorno”, namely Hans Keller and Roger Scruton, are discussed in detail
Gregorianische Psalmodie im Spannungsfeld zwischen musiktheoretischer Grundlage und praktischer Ausführung
No full textGregorian chant has a musicological as well as a practical component. This is also true for the singing of psalms in psalm tones chanted daily during the office of Roman liturgy. The Benedictine monastery of Solesmes was re-founded in 1837 with the aim of reviving the medieval monastic ideal. For this purpose it was necessary to renew the chants of liturgy on the basis of a practical tradition. To this end, the monks of Solesmes developed a form of collective singing of the psalms, based on the one hand on the theoretical fundamentals of medieval tradition and on the other hand on performance of the psalms in the rhythm of speaking. The Editio Vaticana at the beginning of the 20th century was based on the work of the monks of Solesmes. In 1912 the Antiphonale Romanum was published, which contains all chants of the Hours of the Office except for Matins. These books, however, do not conform with the standards of a critical edition, but rather are practical song books, in each of which some of the many variants of medieval chant have been selected and made mandatory. Research into the subject of Gregorian chant within the Catholic church is therefore not practiced as an end in itself, but serves the practice of Gregorian chant and its performance during liturgy; it therefore views itself as neither historically informed nor historicizing. The results differ widely from the methodology of a musichistorian. For the text placement of the psalms a system of rules had to be developed for the collectively sung prayer. While the notes before the cadences are counted by syllables, in the cadences the word stress is considered. Since earlier editions of Gregorian chant books have not been unambiguous in their printed appearance, complicated explanation schemes had to be designed. Finally, in 1981 the new edition of the Psalterium Monasticum and, especially, the introduction of the first volume of the new Antiphonale Monasticum defined the allocation of syllables and stresses. In the new Antiphonale Monasticum of 2005 the order of the models of psalm tones was amended by the introduction of new tones, which had not been part of the octoechos system. Dom Jean Claire and Alberto Turco have demonstrated that some antiphons of small ambitus, which could not be assigned to a certain church mode, had originated already before the implementation of the octoechos system. They had, however, never been fully introduced into the new system; therefore the monks of Solesmes developed new psalm tones, which were deduced from the existing material. By designing the models, the rules of text placement and the derivation of new models of psalm tones, preoccupation with liturgical chant and its performance have brought forward new theoretical fundamentals of Gregorian chant
Komposition im Medienwandel: Operationsketten als kompositorische Strategien bei Peter Ablinger, Bernd Thewes und Isabel Mundry
No full textThe article conceives of composition within the context of a cultural media history. For a better understanding of compositional processes, the media situation of the respective historical period must be considered. The text develops a media perspective of contemporary composition and explores the influence of media practice on compositional processes. This perspective is developed by introducing three compositions that are performed in a traditional concert-situation. Common to all three pieces is a concept based on multiple operational chains that describe processes of medial transfer. Peter Ablinger’s Das Orchester for CD and orchestra (2005) uses computer technology to filter sounds recorded in the city of Graz, Austria into an orchestral piece. His work is media-reflexive since it highlights the disparaties between the medial sound carrier (the sound recording) and the orchestra. Bernd Thewes also uses filtering technology in his Die siebende Gestalt. SPEECH REMIX nach Jakob Böhme for orchestra (2007). Unlike Ablinger, Thewes strives for a compositional situation in which technically supported sound generation and free compositional invention do not diverge. While he interacts with the technical media, subjective decisions within the compositional process are not excluded. Isabel Mundry’s Sandschleifen for string trio, percussion and piano (2003) is equally based on a multiple operational chain, although Mundry does not use technical equipment. The piece transfers a text into music; the text again transfers a picture into words. Mundry stresses the subjective aspects of composition. However, the discussion of her work induces the discussion to what extent her term for compositional transfer-processes “touching” [Abtasten], reminiscent of phonography, betrays a disposition informed by medial technique. The three discussed pieces are examples of the integration of medial transfer – with all its possibilities, its gaps, breaks and limits – into the compositional structure. They exploit new media techniques to create aesthetic experience. This is an important contribution by the arts to contemporary culture understood as media culture. Marshall McLuhan’s argument that the use of media is usually unconscious remains valid. The arts, with their media-reflexive potential, contribute to a better understanding of media. This suggests the necessity of a media-reflexive turn in music theory and musicology
Leitbild der Berufs- und Studienorientierung im Landkreis Görlitz
No full textBearbeitungsstand: März 201
Eure Traurigkeit wird sich in Freude verwandeln: Johannes 16,20
No full textSterbende und Trauende nicht alleine zu lassen, ist eine menschliche wie
gesellschaftliche Verpflichtung und zugleich der Urauftrag christlicher Gemeinde.
Seit vielen Jahren begleiten die Ehrenamtlichen unserer ambulanten
Hospizdienste mit Herz und Verstand Sterbende und ihre Angehörigen,
unterstützen in Trauercafes und Selbsthilfegruppen. Ihre Qualifizierung in
der Sterbebegleitung muss Antworten finden auf die Fragen nach gestärkten
palliativen Schlüsselkompetenzen, aber auch nach zeitgemäßen Texten,
nach kirchenfernen Sozialisationen, nach Hoffnung ohne Gott oder Glauben.
Erforderlich ist also nicht nur ein spezifisches Wissen, sondern auch eine
grundsätzliche Auseinandersetzung mit der eigenen Biografie, der eigenen
Endlichkeit und die Herausbildung einer tragfähigen Haltung. Dafür wollen
wir die Kollekte des diesjährigen Sonntags der Diakonie nutzen
