Lieferbar

Zum Tod von Richard Klein

Tiergläubigkeit

Drei Stills für Richard Klein

Über Geist und Natur

The Deer Hunter

Warum Karl Kraus sich nicht für Musik interessierte

Vom Glück

Wittgenstein und die Musik

»Ausdruck«

Stele für Richard Klein

»Danke Schoen«

Betrachtungen zum Barock und zu Girolamo Frescobaldi

»Die informelle Kunst par excellence«

Musikkritik nach Adorno

Warum Adorno Toscanini nicht verstanden hat

Versuche zum »warmen Klang« bei Brahms

Wer Wärme braucht, soll die Heizung aufdrehen

Musik und Theologie

Kontraktion und Expansion musikalischer Zeit in Schuberts späten Klaviertrios

Die Humanität der Triole

Leonard Cohen, »A Singer Must Die«

Godard, Wagner, Messiaen

Das Ende der Zeit

Zu Wolfram Knauers »Play yourself, man!«

Die Geschichte des Jazz in Deutschland

György Kurtág im Fokus der Musik-Konzepte

Das Vermächtnis eines Ahnungslosen

Die CD soundspaces (Armbruster, Schwarz, Schottke) mit Stücken von Rohloff, Finnendahl, Zimmerlin, Dragićević und Frick

Neue instrumental-elektronische Legierungen

Ein CD-Portrait des Komponisten Dieter Mack

Plurale Rituale

Robert Rabenalts Dramaturgie der Filmmusik

Fabelzusammenhang und Sujetbezug

Thomas Kabischs Buch über die Klaviermusik von Frédéric Chopin

Mehr als ein Werkführer

Musik & Ästhetik, 2022, Jg. 26, Ausgabe 101

Johanna Dombois, Opernregisseurin; seit 1995 experimentelles Musiktheater und Medienkunst u.a. am Muziektheater Amsterdam, Akademie der Künste Berlin, Semperoper Dresden, ZKM Karlsruhe. 2001-05 Künstlerische Leiterin der »Bühne für Musikvisualisierung« des Beethoven-Hauses Bonn.

Richard Klein war freier Autor, Musikphilosoph und Herausgeber der Zeitschrift »Musik &amp; Ästhetik« (Klett-Cotta), 1998-2001 wiss. Beirat beim »Stuttgarter Ring«, Bücher u. a. zu Wagner, Adorno und Bob Dylan. Richard Klein ist Anfang Juli 2021 verstorben.

In 23 Beiträgen wird Wagners Werk als Modell für ein Musiktheater von heute entfaltet, in dem alte Wahrheiten wie Neue Technologien ihren Platz finden. Die Bandbreite der sprachlichen Formen – philosophische Abhandlung und Künstlertext, Essay und Manual, Dramolett, Rezension und Gespräch – steht dabei für das »Experimentelle im Repertoire« und ein Theater der Medien, das einmal keinen ruinösen Widerspruch zur Tradition der Werke bildet. Überall werden Einblicke in den inszenatorischen Alltag mit ästhetisch-politischer Kritik verzahnt. So formiert sich auf der Grundlage von Wagners Musiktheater eine Neubestimmung der Oper. Richard Klein ist Herausgeber der <a href="../zeitschrift/Musik_&amp;_Aesthetik/7823" target="">Zeitschrift »Musik &amp; Ästhetik«</a> (Klett-Cotta).

Wagner als Modell für ein Musiktheater von heute

Johanna Dombois und Richard Klein bringen die Dinge zusammen, die bei Wagner selbst zusammengehören, in der Interpretation aber meist getrennt werden: Schrift, Musik und Theater.

mit Fadenheftung und Goldprägung, 50 farbige und s/w Abbildungen

Für eine kritische Praxis des Musiktheaters 

Johanna Dombois und Richard Klein bringen die Dinge zusammen, die bei Wagner selbst zusammengehören, in der Interpretation aber meist getrennt werden: Schrift, Musik und Theater.

Richard Wagner und seine Medien

Zur Zeit nicht lieferbar

Summary The Paradox of Understanding Music &#8211; Understanding music is surrounded by paradox, due to the fact that music&#180;s form and content are inseparable. The air of paradox can be avoided, however, provided that understanding is centered around simulation rather than sign decoding. Simulation forms a part of every kind of understanding; in the case of music, it becomes a kind of re-enactment. A theory of musical re-enactment, as developed here, is able to integrate several well-known features of our response to music, including our propensity to connect music to extramusical »content«. Musical re-enactment is nosmooth process, however; the form of music is the result of a process of increasing autonomy. Therefore, it presents itself to our will to understand as simultaneously appealing and elusive. In our attempts to understand by re-enacting music, this turns into a challenge to integrate experiential time into musical form.

Paradox des Musikverstehens

Summary The Concert is Dead &#8211; Long Live the Concert! Openings and Perspectives of Music in the »Iconic Turn« of the Digital Age &#8211; In the last twenty years, the computer has developed into a universal instrument for the production, notation, distribution and reception of music; it has long ceased to serve merely the production, storage and reproduction of any possible sound material. In combination with software and interfaces it has become a mobile, multi-functional nodal point through which one can react to every possible situation and combine, amalgamate and transform music with every conceivable medium in real time. The keywords »hybridisation« and »content-aesthetic turn« are used to explain aesthetic aspects of the combination of audible and visible elements; these could be products of a general socio- and culture-historical »iconic turn« in which, in the wake of the digital revolution, the image has established itself as the new dominant medium. At the same time, it seems that the increasing illustration and computer-assisted intermedialisation of music is an attempt to compensate for the fact that the technically-reproduced image of music has become the primary musical experience for most people. If this means the end of the concert, the medial transmission of music simultaneously provides the best case for the concert as an intense listening experience that speaks to several different senses at once.

Öffnungen und Perspektiven der Musik im »Iconic turn« des Digitalzeitalters

Das Konzert ist tot – Es lebe das Konzert!

Summary The Function of Music in Rites: A Psychoanalytical Contribution to Ritual Research The significant coexistence of ritual and music begs the question as to the structural foundation of this elective affinity. The author examines this question using the concept of kinaesthetic semantics, an approach he has developed for the psychoanalytical description of events in music. Music generates meaning (semantics) through the inner structuring of sensual motion stimuli (kinaesthetic elements), with a resulting fusion of expectation and event, i.e. between internal and external perception. This perceptual language is at once complex and fusional. If one compares events in music with those in ritual, a structural similarity becomes clear: both processes are based on demonstrative repetitions of rhythmicised, perception-oriented events. In this sense, music transpires as immanently ritual, while ritual, through quasi-musical structures, can draw the participant into a hypnotic fusion with the symbols it presents. The relationship between linguistic and kinaesthetic semantics in ritual is discussed here.

Ein psychoanalytischer Beitrag zur Ritualforschung

Die Funktion der Musik im Ritus

Summary The »Farewell Seventh« and its Transformation in Schubert and Brahms The harmonic progression known as the »farewell seventh« marks a supplementary formal element after the formally constitutive final cadence. Its roots can be traced back to vocal polyphony in the Renaissance. This essay analyses three closing passages by Schubert and Brahms that can all be connected to this concluding formula, but heighten and reinterpret it in different ways. The text thus aims to contribute to the interpretation of formal-harmonic processes in Romanticism against the background of traditional composition-historical conventions.

Die »Abschiedsseptime« und ihre Transformation bei Schubert und Brahms

Summary »... to give me support by reading in this desperate situation« &#8211; Musical affinities between Franz Schubert and James Cooper. In his last letter, written by Franz Schubert shortly before his death, he asked a friend to help him with books from James F. Cooper. On the basis of this seemingly vital request parallels and similarities are shown in the life and work of the Austrian composer and the American novelist. The speculative comparison makes the path clear for a new unconventional look at Schubert&#180;s late work and emphasizes the musical importance of Cooper&#180;s literature which has fallen into oblivion in Germany.

Wahlverwandtschaften zwischen Franz Schubert und James Cooper

»... mir in dieser verzweiflungsvollen Lage durch Lecktüre zu Hülfe zu kommen«

Lebendiges oder totes Theater

Applaus

Von Beruf Sparplanverschönerer Tröndles Konzert

Gespräche mit György Kurtág

Gepreßte Melodie

Adorno in Amerika

Quellen, Analysen und Deutungen der Fourth Symphony von Charles Ives

Diminuierte Madrigale mit dem Ensemble Capriccio Stravagante

Die Pracht der Renaissance

Musik & Ästhetik, 2010, Jg. 14, Ausgabe 56

Einleitung

Understanding Voice With and Against Roland Barthes It is probably to Roland Barthes that we owe the most important recent reflections on the phenomenon of the voice in music: the recognition of the grain of the voice the insight into the erotic bond of the listener and the analyses of the connections between voice body desire and language. Barthes&#180;s weakness however is his idiosyncratically enacted aversion to theory. If one amends this aspect his texts release their enormous potential for stimulation especially concerning the relationship between classical vocal culture and rock or blues voices.

Stimme verstehen mit und gegen Roland Barthes

Les extrêmes se touchent Callas and Björk In comparing the voices of Callas and Bjork it is integral to note the ability of each artist to give their significantly individual voices one mask. The technical expression »singing in the mask« &#8211; as it is referred to in classical music &#8211; has less to do with the ability of mask singing than outlined here. While the first simply indicates the generation of sound the second indicates that the tone of the voice exposes an ability which is reminiscent of mask dramas in theater. The only difference being that the former is heard while the latter is seen. Bjork&#180;s technique of utilizing her voice as raw material is particularly apparent in her album Medulla. In this album she uses her voice as authentic raw material and thus in a primal sense as an instrument for the music. She executes this task with such vocal genius that the voice is presented in all its natural artistic dexterity. Compared to Bjork we can actually hear the body of Callas in her voice as if it were covered in skin or made of blood. The point being that the bodily tone of every exhalation and fading is symbolic of the classical musical stage.

Callas und Björk

Les extrêmes se touchent

Bob Dylan &#8211; Voice and Face This text views Bob Dylan&#180;s voice as a central aspect of his music and lyrics. The voice is the link so to speak between the person and the songs &#8211; and equally between language and music. Dylan sings language in the sense that he thematicises the process of linguogenesis by vocal means treating the origin of articulation with no less emphasis than the growth of meanings. The voice is simultaneously physis and sign. In addition Dylan manages to develop and maintain this tension between music and language articulation and semantic constitution in an immense palette of the most varied forms of vocal expression over decades.

Bob Dylan – Stimme und Gesicht

Voice in the Jazz Age The particular appellative character of the unformed physical vocal sound and other vocal threshold phenomena are currently a popular object of examination in the cultural sciences. But how can one determine what an uncontrolled vocal sound in the sense of Roland Barthes&#180;s concept of the »grainy voice« is and what it is not? This article considers the transition from the vaudeville style to crooning as an example of how radical changes in media technology generate particular dispositions of listening to the voice in which the appellative functions of the vocal sound located close to the body step into the foreground in a very controlled fashion. In the singing techniques of the blues singers of the 1920s on the other hand the boundaries between materiality and expressivity must be drawn in a completely different manner from that which Barthes that lover of art songs was prepared to imagine.

Stimme im Jazz-Age

Farinelli&#180;s Flayed Voice Voice Design as Cultural Technique For his third cinema film Farinelli &#8211; Il castrato (F/B/I/D 1994) the Belgian director Gérard Corbiau developed a method that enabled him to reanimate a vocal ideal from Baroque opera: using a special sound processing programme two natural opera voices (soprano and countertenor) were combined to produce an artificial castrato voice. As advanced as his approach was at the level of vocal structure however Corbiau&#180;s images do not draw on an understanding of opera that is also open to technical procedures as an aesthetic factor. In scenic terms Farinelli remains an extravaganza and thus becomes a model. With reference to the voice design used in the film the aim here is to show that image and sound separate as soon as their mode of production is concealed. At the same time the text argues that there is no contradiction between vocal artifice and artificial voice on the opera stage.

Voice-Design als Kulturtechnik

Farinellis gehäutete Stimme

Voice and the Syntax of Breathing in Elocution Prose and Music The theories of the art of speaking and singing developed since the 18th century have discussed how speaking and singing can gain means of expression and semantic organisation through breathing (sections 2 and 3). It is all but forgotten today that this theory of breathing developed in treatises on elocution was updated in the second half of the 18th century to provide a new foundation for literary prose (sections 4 and 5). In the theory of musical interpretation one finds in parallel reflections on phrasing in speech-like sections (section 6). In contemporary compositions one can follow the efforts to gain fresh means of musical expression from the physical conditions of breathing (section 7).

Stimme und Atemsyntax in Vortragskunst Prosa und Musik

Voice Break On the Change in Vocal Aesthetics Between the Middle Ages and the Early Modern Age In the transition from the Late Middle Ages to the Early Modern Era the attitude to the singing voice in European culture underwent a dramatic change. Particularly in the second half of the 16th century the high voice became an object of almost fetish-like admiration evident not least in the rise of the castrato singers. The cult of the high voice however took place mostly in the realm of sacred music &#8211; and hence at least part of the explanation for the fascinating effect of the castrato voice must be sought in the area of religious vocal aesthetics: in the proximity of the sexless and »otherworldly« castrato voice to the (imagined) singing of angels and in the symbolism of the vocal flights almost transcending everything material as images of mystic ascension.

Zum Wandel der Stimmästhetik zwischen Mittelalter und Früher Neuzeit

Stimmbruch

Voice Sublimation Music Kinetic Semantics and Aesthetic Theory in the Works of Freud and Lacan The concept of kinetic semantics refers to a primary mental language resulting from the inner organisation of sensory perception without recourse to imagination or language enables the reception processing and retention of experience. Examining the ideas of Ogden Stern and Tustin the author focuses on the relationship between voice and body which rooted in the prenatal stage is sublimated in music. Here the ritualisation found in music causes a loss of fear that enables the lingualised subject to re-enter the archaic world of sensory experience. This view draws on Freud&#180;s concept of aesthetic pleasure; it does not interpret it in terms of the opposition between pre-pleasure and drive however but rather with reference to the rules of kinetic semantics. In an examination of Lacan&#180;s aesthetics the author emphasises that the voice understood as a residual object beyond the signifier is the product of a kinetic-semantic concentration and discusses the particular form of musical linguality.

Die kinetische Semantik und die ästhetische Theorie bei Freud und Lacan

Stimme Sublimation Musik

The Paradox of the Voice Hölderlin&#180;s Diotima in Nono&#180;s String Quartet Voices that fall silent that announce their presence silently or even silenced wind their way through music and literature appear in theatre visual art and ritual and have been haunting forms of medial representation since antiquity. The present essay attempts to reveal the absence of the voice as a paradoxical figuration in its space of possibility between the musical and the literary work: Luigi Nono&#180;s 1980 string quartet Fragmente &#8211; Stille An Diotima and Friedrich Hölderlin&#180;s epistolary novel Hyperion form the points of reference for this configuration. Two works that present the voice in its hushedness and render it legible as a figure of their intersection. Nono&#180;s string quartet transpires as the resonance space of an absence manifesting itself through the silencing of the voice. Just as the voice of Diotima in Hölderlin&#180;s text cannot be heard yet is audible it is marked in Nono&#180;s work as that which is not absorbed in the act of listening. Both artists the composer and the poet figurate the paradox of the voice which as well as everything it says wants and remembers refers to things that are absent and things that are not yet and no longer part of the present.

Hölderlins Diotima in Nonos Streichquartett

Die Paradoxie der Stimme

Does the Voice Lie? Klaus Altmann &#8211; Klaus Barbie Is a person&#180;s voice a place in which the true is separated from the false a place where lies become apparent? It is not only psychologists who answer this question in the affirmative. It seems to be part of the peculiar aura of the human voice that one can find something authentic »in« it which eludes the control of the speaker. So does the voice expose a spoken lie? The essay investigates this problem and takes an extreme example: the recording of a conversation contained in Marcel Ophüls&#180;s documentary film Hôtel Terminus. It suggests something like irrefutable &#8211; vocal &#8211; evidence of lying. The text takes this impression seriously in phenomenological terms and examines the strange type of evidence that could be involved here more closely. It cannot be generalised nor does it hold up to forensic standards. Nonetheless it enables us to draw conclusions about the peculiar thusness of the voice. The article ends with an ethical a lie-theoretical and a voice-theoretical thesis.

Klaus Altmann – Klaus Barbie

Ob die Stimme lügt

Stimme

Musik & Ästhetik, 2009, Jg. 13, Ausgabe 51

Media of Composition Taking Niklas Luhmann&#180;s distinction between medium and form as the point of departure one can develop a range of music-analytical tools to pinpoint different organisational levels extending from the individual note to the entire work. In contrast to conventional media theories storage and mass media are only particular manifestations of the general medium-form difference which enables ideas and statements for both production and reception traditional music and New Music. At the core lies Luhmann&#180;s formula of the &#8250;difference between medium and form which in turn becomes medial&#8249;. Whether the parameters of a single note constitute the medium of a composition or entire music-historical specimens are subjected to deconstructive methods this spectrum is itself a medium of composition. The present text uses this as the basis for an outline of a media theory of music.

Medien der Komposition

Tragedy of Listening. Nono Cacciari critical thought and compositional practice This article investigates the role of critical theory in the work of Luigi Nono; in particular that of philosopher-politician Massimo Cacciari. It examines the related concepts of negative thought resistance post-dialectical art and »un-everything«. A development is charted through Nono&#180;s choice of poets to set in the 1950&#180;s his insistence on the meaningfulness of musical text at Darmstadt in 1960 and his use of politically-charged documentary texts in parallel with his political engagement. Political aesthetic and philosophical ideas are manifest in the nature of the music itself. There are important theological components despite Nono&#180;s communism. The relationship between the immanent present and musical structure becomes crucial. This is explored in the late works of the 1980&#180;s especially in Nono&#180;s collaboration with Cacciari on the opera Prometeo and his subsequent interest in the work of Jabès.

Nono Cacciari kritisches Denken und Kompositionspraxis

Tragödie des Hörens.

The Overstepping of Boundaries in Monteverdi&#180;s »L&#180;Orfeo« or Why Does Caronte Fall Asleep? New thoughts on the genesis of opera The traditional belief that has persisted for centuries in the »birth of opera from the spirit of Greek tragedy« has long obstructed any differentiated examination of the genesis of the genre and is now considered obsolete; it has even been exposed as a »myth of music historiography« (Silke Leopold). The present text attempts to show that it was precisely the renewal of ancient myths from the position of the authors&#180; own time and its intellectual climate &#8211; the process of reshaping and updating &#8211; that was an important motive for establishing the new musical genre. From this perspective it becomes clear how in Striggio&#180;s and Monteverdi&#180;s L&#180;Orfeo aspects of the libretto&#180;s content the discovery of new musical means of affective expression and the new form of presentation combine to create a unique constellation deeply rooted in the contemporary culture of the time. The concept of overstepping boundaries transpires here as a mediator between art and science.

Neues zur Entstehung der Oper

Grenzüberschreitung in Monteverdis L´Orfeo oder: Warum schläft Caronte ein?

The Self&#180;s Sounding Other. Remarks on the octave and the musical tone From an acoustic perspective the musical tone as the basic unit of musical activity has been extensively researched but there are deficits from a musical perspective. Studies in the fields of tone psychology music psychology and musicology either follow the line of acoustics or understand tone in terms of tone systems. But the insight that differences not entities form the smallest musical units can already be brought to bear on the fifth as the first musically effective difference. The octave as the basis of the Western tone system is explained using the methods of Hegelian dialectics as the basic principle of the musical tone itself which reflects itself as being in itself thus revealing the other of its self. This self-referentiality can be understood with the help of the model proposed by the Prague structuralist school as an embodiment of aesthetic function i. e. both as internal self-relation and an explicit reference to itself.

Bemerkungen zu Oktave und musikalischem Ton

Das klingende Andere seiner selbst

Erwiderung auf Albrecht v. Massow

Musikwissenschaft – Musik – Psychoanalyse

Signs &#8211; Sound &#8211; Gestures. Three Wagner dissertations One can identify two seemingly opposing tendencies in current writing on Wagner: on the one hand a surprising prominence of themes that had already been at the centre of discussions in the early days of Wagner reception and on the other hand a tendency towards reception- and discoursehistorical approaches that bear the traces of the various »turns« of the more recent cultural sciences. Three dissertations by Christian Thorau Arne Stollberg and Martin Knust seem &#8211; each in their own way &#8211; to attempt a combination of these tendencies. The tension between different levels of objects and observation which all three must endure in the process is characteristic of a musicology trapped between new culture-scientific orientations and the preservation of a work paradigm however modified and expanded.

Drei Wagner-Dissertationen

Zeichen – Klang – Gesten

Musik als Philosophie?

Friedrich Kittlers gegenkulturelles Griechenland

Musik und Mathematik.

Neues von Adorno und Eisler

Ulrich Schreibers letzter Streich

Musik & Ästhetik, 2008, Jg. 12, Ausgabe 48

The Future in Ruins. Essay on Charles Ives Although Ives was first interpreted as an ancestor of 20th century modernism recent American musicology has stressed his more traditional aspects to integrate him into the canon of »great composers«. Here Ives as outsider and anarchist is rediscovered and Ives' music is seen as linked to a specifically American variant of individualism and an aesthetics of genius and nature. American political and gender culture is found in Ives's specific technique and his evasion of artistic realization. Like Adorno's Wagner Ives at once embodies the inner contradictions of American ideology and also implicitly criticizes them.

Versuch über Charles Ives Teil I-III

Die Zukunft in Ruinen

Case studies on Aesthetics in Music Education: Bix Beiderbecke's Solo Aesthetics are generally being considered as a complicated field of inquiry particularly for students. Aesthetic experiences however often raise questions about the nature of music which philosophical aesthetics is intended to answer. It depends largely on the aptly chosen methods to connect students with aesthetics. Many music educators in the United States approach this goal through »case studies on aesthetics«. This method features short stories on aesthetic problems as a means of exemplifying aesthetic theory. These stories allow students to engage in aesthetic inquiry in close relation to the musical world of students. Furthermore case studies offer more applications to music education through performance improvisation or pre-concert lectures.

Ästhetik im Musikunterricht oder: Bix Beiderbeckes Solo

Sound-speech and Musical Syntax Mattheson's »sound-speech« as a musical language of the heart is based on an auditory concept of language. Music here takes on a meaning that is independant from verbal language and not (yet) autonomy-aesthetically founded. Its new communicative function in the discourse of emotions demands close attention. With his easily comprehensible writings (in German) Mattheson develops a new form of theory for this on the basis of contemporary rhetoric. Rhetoric is an effective communication theory and simultaneously provides the language-theoretical model. Music creates an acoustic space by sounding. Using the basic scheme of rhetoric the positions of non-conceptual musical representation are named within it. The attraction of the model lies in the functional analogy of effect. It is based on an early Enlightenment understanding of language that differs substantially also grammatically from today's notions of sentence and syntax.

Klang-Rede und musikalische Syntax

Salvatore Sciarrino's »Variazione su uno spazio ricurvo« The Italian composer Salvatore Sciarrino is one of the most productive today and his Oeuvre contains many works for piano. His Variazione su uno spazio ricurvo date from 1990; the piece is extremely short and succint and especially suited for an analytical explication of Sciarrino's compositional strategies and patterns of musical formation.

Salvatore Sciarrinos Variazione su uno spazio ricurvo

Gustav Mahler and Friedrich Rückert - a Mésalliance? In the discovery of Gustav Mahler after 1960 it has been precisely those who have been most vocal in effecting the restitution of his music after the Nazi era that have expressed displeasure at his choice of poetry in his vocal works. Among these were Theodor W. Adorno and especially Hans Mayer. After showing disinterest in this context in his book on Mahler Adorno later emphatically amended his position in a polemic against Mayer. The present contribution shows how misguided it is to offer an interpretation of Friedrich Rückert's poetry and its appropriation by Mahler that evaluates this output from the perspective of a linear modernisation process. Mahler recognised something of himself in Rückert's poems in such a way that taking his cycle of five orchestral songs the Rückert-Lieder we can identify a self-portrait assembled by means of a poetic collage.

Gustav Mahler und Friedrich Rückert - eine Mesalliance?

Current of Music. An examination of stage productions with new media using the example of »Fidelio« In the performing arts the progress in technical resources has also increased the demand for new expressive possibilities - yet formal and aesthetic discrepancies between the traditional operatic repertoire and technological innovations are still prevalent. As part of an entirely virtually-staged production of Fidelio (premiered on 2 December 2004 at the Beethoven-Haus Bonn) whose abstract figures were initially derived from purely musical information in the sense of a musical visualisation then subjected to further scenic interpretation an analytical procedure was invented enabling the translation of a historical musical score into a numerical digital representation. While motivic analysis no longer seemed powerful enough to preserve the fluid texture of the music in its data-generated image the parametric transposition of Beethoven's score into the numbercode had to be carried out without damaging any of its historical foundations. The new digital medium of »Virtual Environment« and the analysis of classical music put each other to the test.

Inszenieren mit Neuen Medien am Beispiel Fidelio

Musikstrom

Das Neoklassizistische an Martha Argerich

Elliot Carters Harmony Book

Gegendarstellung

Musik & Ästhetik, 2007, Jg. 11, Ausgabe 41

I. Das Kunstsystem - II. Die Entkoppelung von Werk Medium und Reflexion - III. Das Medium der Kunst - IV. Klassische Moderne - V. Avantgarde - VI. Postmoderne - VII. Reflexive Moderne - VIII. Gehaltsästhetische Wende - IX. Naive Moderne - X. Kunstkritik - XI. KunstphilosophieAvant-garde Today. A theoretical model of aesthetic modernity In order to still be able to answer the central question of the avant-garde today it is necessary to have a model of aesthetic modernity showing what the »avant-garde« once was and what became of it. According to the author's model the major divisions in art historiography such as classical modernity avant-garde and post-modernity can be reconstructed ideal-typically as steps in the progressive differentiation of art here leading to a gradual separation of work medium and reflection in art. If this process of differentiation has been completed then art can react in two ways to its self-created hyper-complexity: reflexively or naively. Accordingly art has now reached a point of bifurcation in its history at which it can evolve either into a reflexive or a naive modernity. The fundamental precondition for a reflexive modernisation of art would be the development of an art criticism that was autonomous in every respect enabling a paradigm shift in the self-definition of advanced art: namely from a material-aesthetic to a content-aesthetic orientation.

Ein Theoriemodell der ästhetischen Moderne

Avantgarde heute

Mozart - a »cherub and guardian of true art«? The film For Ever Mozart by Jean-Luc Godard In Godard's For Ever Mozart (1996) one only actually hears music by Mozart in the short closing sequence. For Ever Mozart is primarily a film about the wars in Bosnia and - as in a whole series of films by the same director - about the impossibility of depicting war. Mozart's music and Mozart the man who appears in that final scene and plays the solo part of his last piano concerto appear - on the surface - to represent a »harmonious« utopian reconciliation in opposition to the present warlike reality. Closer analysis shows that Godard understood this »harmony« merely as »a form of sleep« a »fleeing game« (Broch). The director himself also interpreted it as such in part 2.b of his monumental film history Histoire(s) du cinéma »Fatale beauté« - using words of Hermann Broch - and already anticipated this »desperate attempt« in 1993 in Hélas pour moi.

Der Film For Ever Mozart von Jean-Luc Godard (1996)

Mozart - ein »Cherubim und Hüter wahrer Kunst«?

The Delayed End. Essay on the music of Morton Feldman The ambiguity of Morton Feldman's music lies in the fact that it must divest itself of all traces of what is not »the music itself« in order to realise the musically »absolute« yet fails precisely through that realisation. This allows us to read the traces of the contingent within it. And they have been read in different ways to the effect that this music sometimes appeared as art as »modern« art on other occasions as the expression of a cultural particularity or indeed finally as »ambiental«. In all this it must be left open whether it has thus already moved beyond the end of art or is rather delaying that end.

Versuch über die Musik Morton Feldmans

Das aufgeschobene Ende

»Musico antico &amp; celebrato«. Essay on Jacobus Vaet Jacobus Vaet is one of the most significant figures among the composers of the 1550s and 1560s. As the director of the Imperial Chapel Royal at the Viennese court of Maximilian II it is surely not without reason that Vaet like his composer colleagues Palestrina and Lasso stood at the centre of Western culture during that time. Though he was highly respected by his contemporaries his public image was subjected to considerable distortion during 450 years of reception history. Following the gradual rediscovery of his work through CD recordings in the last few years this article honours it with a first analytical and style-critical examination.

Versuch über Jacobus Vaet

»Musico antico & celebrato«

Tone Colours and Colour Tones. Josef Matthias Hauer and Johannes Itten On the way from the late Romantic musical language to the twelve-tone game Josef Matthias Hauer's engagement with the phenomenon of »tone colour« constituted a milestone in the development of his music-theoretical and musical output. Influenced by his long-standing friend Johannes Itten he revised his 1918 theoretical study »Über die Klangfarbe« [On Tone Colour] and published it in 1920 under the title »Vom Wesen des Musikalischen« [On the Nature of the Musical]. Itten in turn was inspired by Hauser's reflections to write a theory of his own. Whereas Hauer saw musical intervals primarily as carriers of particular colours at the beginning of his engagement with the theory of colours he later referred with increasing emphasis to keys and their colour characteristics. He began by assuming at the purely sensory level that the relation between the colours black and white equalled the acoustic proportion of one octave. Itten began by defining the equivalent to the octave on the basis of physical parameters in the proportions between the frequencies and wavelenghts of red and violet and in a further step he moved beyond the two-dimensionality of the circle of colours to the sphere of colours now also bringing grey colour tones into the musictheoretical discussion.

Josef Matthias Hauer und Johannes Itten

Klangfarben und Farbklänge

Experiment and Form. Observations on Conlon Nancarrow's »Study No. 20« The conception of Conlon Nancarrow's Study No. 20 is based on a game with the principle of chance. Succession and temporal co-ordination of the musical action spaces correspond in general terms to the ideal structural principle of sonata form. The strict separation of formal conception and chosen pitch material however leads to the conclusion that the composer did not intend an integration of tradition into his experiment.

Johanna Dombois

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