Sächsische Landesbibliothek - Staats- und Universitätsbibliothek Dresden (SLUB): Qucosa
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Musiktheorie ist Musiktheorie ist Musiktheorie
No full textMusic theory has acquired a unique position in between many fields, most notably composition, historical and systematic musicology and music pedagogy. Motivated by the topic “music theory and interdisciplinarity”, this essay explores the fields spanned by today’s music theory in seven short chapters. The first chapter describes changes of the discipline in German-speaking countries since the 1960s and its development from a simple synonym of practical harmony and a propedeutic means for music analysis to a postmodern, rich and scholarly ambitous field that can hardly be reduced to a common denominator. In the second chapter the author, drawing on Fritjof Capra’s The Tao of Physics, argues that music theory should not limit itself to purely “technical” issues, but must also address emotional or expectational realms of musical meaning. The third chapter further explores this point by discussing the opposition between musical theory and practice, suggesting that music theory indeed has the potential to let these two poles stimulate one another. The same is true for the often debated divide between “artistic” and “scholarly” aspects of music theory, explored in the fourth chapter: They are not mutually exclusive, but rather always have influenced each other, as evidenced by eighteenth-century treatises. Exchange with related disciplines such as music psychology has increased since the 1960s, as chapter five summarizes, although the relationship between music theory and musicology sometimes remains problematic. In the sixth chapter, a short analytical approach to four examples from the standard repertoire (Schubert, Bach, Brahms, Mozart) attempt to demonstrate the potential of specifically music-theoretical viewpoints. The final section advocates the strengthening of a specific profile for music theory: The liberation from dogmatic thought and systematic rigour should not lead us to overstretch music-theoretical questions
Äquidistanzen im zwölftönigen System: Zusammenhänge kompositorischer Verfahren im frühen und späten Klavierwerk Franz Liszts
No full textFranz Liszt’s late piano works represent a radical change in his musical style. They stand out for their frequent use of equidistant scales and chords such as the diminished seventh chord or the augmented triad as well as the combination of different scale types such as the whole tone scale, the octatonic scale or the “gipsy scale”. While the compositional techniques in Liszt’s late works have often been described in isolation from Liszt’s earlier works and have been understood as paving the way for post-tonality, this article aims to show that they also emerge from a system of more traditional techniques that complement each other and were actually used by Liszt throughout his career as a composer. A discussion and comparison of selected techniques in Liszt’s late piano work as exemplified in La lugubre gondola I/II, Nuages gris, Unstern! and Bagatelle ohne Tonart is related to techniques in earlier works such as Funerailles. It can be shown that the “idiosyncratic” techniques in the late works are actually ultimate consequences from compositional techniques dating back to the Baroque period
Vom musiktheoretisch Schönen, Wahren und Guten
No full textThe aesthetic category of beauty, the epistemological category of truth, and the ethical category of the good constitute three central coordinates in the history and theory of Western art and music. During the period of modernism (considered here as lasting from the mid-18th century through its postmodern phase), these categories underwent a major shift, involving at its most extreme a reversal from beauty to ugliness, from truth to falseness, and from good to evil. While the speculative, regulative and descriptive traditions of music theory have participated in this development, the relativist climate of post-normative pluralism invites a reassessment of those categories in current music-theoretical discourse. At issue is the relevance of beauty, truth and goodness in and for a theory of music. This essay has two parts. The first part positions Friedrich Schiller and Theodor W. Adorno as two thinkers that articulate the difference between an aesthetics of beauty and an aesthetics of truth – a difference that stems from Adorno’s critique of idealist philosophy and aesthetics. The second part considers the rapprochement in modern aesthetics between art and theory by pursuing the notion of an aesthetics of music theory. The idea of the music-theoretically beautiful is discussed by drawing on examples from Neo-Riemannian theory (Richard Cohn) and Transformational Theory (David Lewin)
Marderkaninchen
No full textDas Marderkaninchen ist besonders charakterisiert durch seine attraktive Fellzeichnung, die in den Farbenschlägen braun und blau der von Baum- und Steinmardern ähnelt.
Es entstand zwischen 1923 und 1925 an mehreren Orten aus unterschiedlichen Rassen, jedoch stets unter Beteiligung von Chinchillakaninchen.
Der Flyer informiert über Zuchtgeschichte, Kennzeichen, Haltung und Bestandsentwicklung dieser gefährdeten einheimischen Kaninchenrasse. Ziel ist es, mehr Züchter für deren Erhalt zu gewinnen. Dazu sind Ansprechpartner mit Kontaktdaten aufgelistet.
Redaktionsschluss. 25.09.202
Taktgruppenmetrische Ambiguität bei Beethoven: Konsequenzen metrischer Analyse für die aufführungspraktische Interpretation des Finalsatzes der Klaviersonate op. 31,2
No full textThis article aims to shed light on the complex relationship between music analysis and performance practice, taking hypermetric analysis, in particular hypermetric ambiguity, as a case in point. In many studies dealing with metre above the bar level, one encounters a prescriptive approach to performance where analytical insights are considered to determine the range of possibilities for the musician. Even in cases of hypermetric ambiguity, analysts tend to advise the musician to decide in favour of one preferred analytical reading and, thus, to resolve ambiguity. The present essay is organized into three parts: based on an essentially cognitive theory of metre presented in part one, the second part examines hypermetric ambiguity in the final movement of Beethoven’s “Tempest Sonata” op. 31,2. Conflicting readings of this movement and hence ambiguity largely result from fundamental differences regarding both the underlying theoretical notion of metrical accent and the importance ascribed to various factors for metric analysis. Part three deals with various problems that go hand in hand with the prescriptive approach to performance. It is argued that analytical suggestions about how to perform a composition adequately are of relatively little value, so long as it remains unclear what a metric accent is and to what extent a metrical structure can be influenced by other types of accents (e.g., dynamic, agogic or tonal). A further difficulty is that analysts either rarely specify the means for realizing a proposed analytical reading or simply advise the performer that certain points in time should be played louder in order to make them heard as metrically accented, thus suggesting that dynamic accents automatically coincide with metrical ones
Denken und Hören in der Musik der Gegenwart: Podiumsdiskussion mit Clemens Gadenstätter, Dieter Mack und Markus Neuwirth, Leitung: Andreas Dorschel
No full textThe panel discussion focusses on thinking and listening in the context of contemporary music, connecting to the overall topic of the Graz congress, “music theory and interdisciplinarity”, as well as to the conceptualization of listening in music-theoretical approaches informed by cognitive sciences. Andreas Dorschel summarizes the history of interdisciplinarity and transdisciplinarity in the humanities and traces its origins to the founding of the Centre for Contemporary Cultural Studies at the University of Birmingham in 1964. More recently, it seems that tendencies of “redisciplinarisation” can be observed and that music theory is also affected by this trend, as it tends to differentiate into diverse sub-fields such as the history of music theory, “historically informed” practical composition, pedagogical music theory and systematic-speculative music theory. In the contemporary arts, however, transdisciplinarity continues to provide a highly influential model. Several examples from twentieth-century music are discussed that incorporate “theories” into the musical fabric, among them Helmut Lachenmann’s Salut für Caudwell, John Cage’s Lecture about Nothing, Morton Feldman’s Elemental Procedures and Gérard Grisey’s L’Icône Paradoxale. In such works, the relationship between musical theory, political theory and compositional structure often is left intentionally ambiguous. The second part of the discussion focusses on theories of listening with cognitive music theories and Lachenmann’s aesthetics providing two main references. Cognitive music theories tend to limit themselves to structural aspects, often guided by the intention to connect to computer sciences and informatics, although the distinction between “extra-opus” and “intra-opus” knowledge, for example, in fact requires the consideration of complex socio-historical contexts. Cognitive frameworks therefore seem to be largely inadequate to grasp prominent modes of listening that have evolved in contemporary music. A highly influential model has been formulated by Lachenmann as the distinction between Hinhören (hearing) and Zuhören (listening): While listening to music generally does not challenge listening habits and the music tends to immerse the listener in a magical sphere, Lachenmann’s aesthetics aims to breach these habits and enter the domain of existential hearing, thus enabling “liberated perception”. Dorschel connects this distinction to Schopenhauer’s philosophy of visual perception (“Spähen” [peering] vs. “Anschauen” [perceiving]), Helga de la Motte to Theodor Lipps’ idea of “Einfühlung” which has been translated as “flow”. Further modes of listening discussed include Peter Sloterdijk’s deep psychological interpretation of listening as the search for prenatal sounds and his idea of a “sonorous cogito”, Dieter Mack’s aim to trigger curiosity by both building upon and breaching listening habits and Clemens Gadenstätter’s utopian concept of entering unknown territories of listening during the compositional process, transcending the “state of listening” [“Hörstand”] of both the composer and the listener
Die Sächsische Gartenakademie: Informations- und Weiterbildungsangebot 2020
No full textDie Gartenakademie des Sächsischen Landesamtes für Umwelt, Landwirtschaft und Geologie wendet sich mit einem vielfältigen Weiterbildungsangebot an alle Freizeitgärtnerinnen und Freizeitgärtner. Der Flyer bietet einen Überblick über das gesamte Angebot der Gartenakademie im Jahr 2020.
Redaktionsschluss: 31.8.201
Die Sächsische Gartenakademie: Informations- und Weiterbildungsangebot 2021
No full textDie Gartenakademie des Sächsischen Landesamtes für Umwelt, Landwirtschaft und Geologie wendet sich mit einem vielfältigen Weiterbildungsangebot an alle Freizeitgärtnerinnen und Freizeitgärtner. Der Flyer bietet einen Überblick über das gesamte Angebot der Gartenakademie im Jahr 2021.
Redaktionsschluss: 21.10.202
Kommunalismus und jüdische Emanzipation. Bürgergemeindlicher Widerstand als politischer Faktor in der Schweiz
No full textNyoman Windha’s Catur Yuga: A New Concept of Contemporary Balinese Chamber Music?
No full textThe so-called kebyar-style of the 20th and 21st centuries is regarded as the basic stylistic frame of recent Balinese musical development; its influences are discernible in almost all other Balinese genres. Beginning in the 1960s, I Wayan Beratha created a model called kreasi baru (literally “new creation”) that soon became the prevailing standard for the development of almost all contemporary music. Nevertheless, that model still had its roots in traditional Balinese music, as described systematically and encompassingly by Michael Tenzer (2000). Parallel to this ongoing practice, some younger composers have consciously attempted to go beyond the normative criteria of the kreasi baru. This can be seen in aspects of form (new process-orientated ideas, change of the gong function from end- to frontweightedness etc.), in the change of the functions of musical strata, but also in vertical sound organisation. Only a few composers have devoted themselves to a radical experimental approach, while most tend to favour a gradual extension of the Balinese musical language. Nyoman Windha’s composition Catur Yuga from 1997 is a significant example of such a stepwise crossing of the normative borders of the standardized kebyar-style. This approach is demonstrated by an analytical discussion of several short examples from Catur Yuga