Sächsische Landesbibliothek - Staats- und Universitätsbibliothek Dresden (SLUB): Qucosa
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Formale Kohärenz und Sprengung des Gefüges: Zum »Sonatensatz« der Schmuckszene in Alban Bergs Wozzeck
No full textWhen in 1923 the piano-score of Alban Berg’s opera Wozzeck was sent to critics and theatre directors, a chart was included indicating traditional and new formal designs in the opera’s musical organisation. This chart and the composer’s subsequent comments strongly influenced the early reception of the opera to the point that it became difficult for analysts to approach the work from a different point of view. Although the formal designs were indeed very important for the compositional process of the opera, they were counteracted and modified by strong undercurrents. This aspect is examplified by an analysis of the first scene of the second act (“Schmuckszene”). In this scene, Wozzeck surprises Marie admiring the ear-rings, given to her by the Drum Major. A short dialogue ensues, in which Wozzeck calms down Marie who is agitated by her bad conscience. Wozzeck leaves her alone with their child again, while Marie is fatalistically lamenting her fate. According to the formal analysis authorized by Berg the scene is based on a traditional firstmovement sonata form. The three-part-exposition is coordinated with Marie (first theme), the child (transition and secondary theme) and Wozzeck (closing theme). This sequence of thematic units reappears three more times (Reprise 1, Development, Reprise 2 / Coda). Apart from the sonata form skeleton, however, there are three arguably more significant principles contributing to the musical fabric and form: 1. A tendency to contraction and acceleration. The five main parts of the form (Exposition, Reprise 1, Development, Reprise 2, Coda) gradually decrease in length. This tendency can also be observed within each part in the increasing contraction of the subdivisions. The larger temporal shape of the scene is thus characterized by an inexorable progress toward a goal, rather than being constrained by the demands of symmetrical balance in Classical sonata form. 2. The tempo-structure of the piece is “fan-shaped”; this means that the sequence of events forms a “wedge-progression”, in which the tempi increasingly diverge. Once the extremes of tempo are reached, at the end of the development, the music breaks out of the frame of construction and abandons thematic unity. 3. Cyclic repetition. Contrary to the discontinuity of the wedge-progression (and in some respects contrary to the sonata principle), Berg pays attention to the continuity of the structural background. Most specifically, the development turns out to be a varied repetition of the first half of the exposition. This creates a multilayeredness of structure, which reflects the ambiguity of the dialogue between Marie and Wozzeck on the stage. In the coda the closing reappearence of the first theme in the bass leads to a metrically displaced collage-like combination of material of both the first and the secondary group
HIV/AIDS im Freistaat Sachsen / Staatsministerium für Soziales und Verbraucherschutz, Freistaat Sachsen: Jahresbericht ...
No full textIntegrationsmonitoring der Länder ... / Staatsministerium für Soziales und Gesellschaftlichen Zusammenhalt, Freistaat Sachsen: Länderauszug für den Freistaat Sachsen
No full textYaron Z. Eliav: A Jew in the Roman Bathhouse: Cultural Interaction in the Ancient Mediterranean
No full textBewerbungsunterlagen des Landkreises Görlitz für das Bundesmodellvorhaben „Land(auf)Schwung”: 2. Regionales Zukunftskonzept : Kurzfassung
No full textComposition and Analysis as Communication: Outline for a Compositional Theory based on “Musical Information”
No full textThe concept of “information” in association with music recently re-emerged in music psychology and cognition in the form of statistical learning and as the basis for models of music perception. The first time music and information were associated in a systematic manner was in the 1950s and 60s when, particularly in North American music theory, researchers applied concepts from information theory to analysis and composition. Among the work of the 1950s was Edgar Coons’ and David Kraehenbuehl’s Information as a Measure of Structure in Music (1958). The authors suggested that information could be developed into a useful compositional tool that would aid decisionmaking in terms of form, but would not hamper the composer’s personal style or freedom of choice with regards to musical materials. In this article, the fundamental concepts behind the development of a musical information theory are outlined, giving some simple examples of its possibilities and proposing directions for future development. The outline embraces the necessity for a contemporary musical theory to combine formal, scientific methods and an awareness of contexts and relationships inspired by the New Musicology and the study of music as a cultural activity. As a theory of communication, information theory is presented as a far more subjective and pliable concept than is implied in Claude E. Shannon’s Mathematical Theory of Communication (1948), the work upon which many of the musical information theories in the 1950s were based. A flexible view of information theory and the concept of information must be maintained to enable them to take part in contemporary musicological discourse
... kann ich bleiben, bis Du gehst?: Hospizdienste in der Diakonie Sachsen
No full textDerzeit ruht die Hospiz- und Palliativkompetenz zu häufi g auf
den Schultern einzelner, hoch engagierter haupt- und ehrenamtlicher
Mitarbeiterinnen und Mitarbeiter. Doch unter unzulänglichen
Bedingungen können Pfl egende nicht die Qualität
der Sterbebegleitung leisten, wie sie es gerne möchten. Dabei
fordert die im Grundgesetz verankerte Menschenwürde, dass
wir nicht aufhören die Lebensbedingungen aller Menschen so
zu gestalten, dass ein Leben und Sterben in Würde möglich
ist. Dies ist und bleibt ein zuverlässiger Gradmesser für die
Menschlichkeit unserer Gesellschaft. So soll die Landeskollekte
2016 neben der Förderung von Ehrenamtlichen in der
Hospizarbeit auch Menschen in besonderen Wohnformen
zu Gute kommen, die sich nicht mehr ausreichend zu Wort
melden können
Anton Bruckner und Simon Sechter: Zum Verhältnis von Komposition und Theorie im späten 19. Jahrhundert
No full textThe literature on Anton Bruckner has always stressed the putative incongruity between his thinking as a music theorist and his compositional output. In this article, the author tries to review and re-evaluate the extent and limits of the impact of theory on Bruckner’s musical style. The focus is on the two classical disciplines that Bruckner had studied under Simon Sechter and subsequently taught himself: harmony and counterpoint. While the descending fifths sequence represents the original model at the heart of Sechter’s system, other sequential models can be justified only to a limited extent on the basis of his fundamental bass theory. In many cases, Bruckner’s use of such models indicates that he was aware of this problem while composing. Both Sechter’s teaching method and Bruckner’s harmony are characterised by two sets of contrasts: between triad-based and seventh chord-based harmony on the one hand and between diatonicism and chromaticism on the other. That Bruckner regarded chromaticism as an artificial modification of a basic underlying diatonic material is demonstrated by the fact that it is possible to trace many of the chromatic progressions in his symphonies back to diatonic frameworks. Bruckner’s lessons in counterpoint with Sechter also helped to shape features of the composer’s style such as the frequent inversion and imitation of motifs, the technique of voiceswapping, the combination of multiple motifs and the use of double counterpoint
Musiktheoretische Implikationen im Briefwechsel zwischen Elisabeth von Herzogenberg und Johannes Brahms
No full textElisabeth von Herzogenberg’s letters to Johannes Brahms express her deep admiration and devotion to the composer’s work, but she also tentatively formulated criticism, mostly in cases when she was encouraged by Brahms to do so. What were the issues of music-theoretical relevance discussed in this correspondence? Was Elisabeth von Herzogenberg really a discussion partner on equal terms and were her views accepted by the composer? In several of Herzogenberg’s letters detailed analyses of Brahms’ vocal works can be found, especially of his songs with piano accompaniment and his choral compositions. Because of her broad musical experience in these fields, Brahms valued her opinion highly. Elisabeth von Herzogenberg had enjoyed a comprehensive education in musical practice and theory. She was an excellent pianist and singer, had a beautiful voice and was praised for her perceptive skills. Her statements on Brahms’ vocal works, which concern harmonic, melodic and rhythmic aspects, exhibit aesthetical criteria deeply rooted in the Classical-Romantic tradition. Above all she pays attention to a sensitive relationship of poetry and music. She disapproves “visualizing” effects in music, which according to her disturb the integrity of a composition. Herzogenberg noticed the increasing success of Brahms’ works with deep satisfaction and at the same time – in agreement with Brahms – refused to accept Anton Bruckner’s music. This article sheds light on the music-theoretical details discussed in the Brahms-Herzogenberg correspondance in paratactic manner and suggests that their systematic documentation forms a desideratum of Brahms research
Ergebnisse der Umfrage 2024 zu Verbreitung und Eindämmung von Kreuzkräutern in Sachsen & Ergebnisse des Monitorings 2024 zur Verbreitung von Frühlingskreuzkraut im Südosten des Landkreises Nordsachsen und in der Lausitz
No full textDer Bericht richtet sich an Landwirte, Fachberater und die breite Öffentlichkeit. Er entstand in Zusammenarbeit des LfULG (Referat 73 Pflanzenschutz & FBZ/ISS) und des Kompetenzzentrums für Nachhaltige Landwirtschaft. Die Ergebnisse des Monitorings und der Umfrage zum Auftreten giftiger Kreuzkräuter zeigen, dass im Süden Sachsens das Jakobskreuzkraut und im Norden sowie Osten das Frühlingskreuzkraut dominieren. Besonders betroffen sind Brachen, Blühflächen, extensives Grünland und lückige Bestände von Ackerfutter. Mechanische Verfahren zur Regulierung von Frühlingskreuzkraut wie Mulchen und Mähen wirkten unzureichend. In Grünland und Futterflächen war chemische Bekämpfung effektiv. Eine gute fachliche Praxis mit einer auf die Kultur abgestimmten Düngung ist entscheidend zur Erhaltung gesunder konkurrenzstarker Bestände. Mit einer Nachsaat werden Bestandslücken geschlossen und die Etablierung von Kreuzkräutern kann vermieden werden.
Redaktionsschluss: 30.09.202