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Zum Tod von Albrecht Wellmer

Music for the ’Iron Era’: Rubens, Seneca and Monteverdi’s Eighth Book of Madrigals In the preface to his Libro ottavo, Monteverdi presents an aesthetic and genre-theoretical concept that involves, on one hand, a new composing style – concitato genere – and, on the other hand, aims for a contrasting and symmetrically organised formal structure in which madrigali guerrieri and madrigali amorosi are placed in opposition. The essay attempts to relate this concept to the work of the contemporaneous painter Peter Paul Rubens and the reception of the Stoic philosopher Seneca. Whereas Rubens thematises war and love in his pictures and adopts a clear pacifist position, Seneca presents a theory of the war-triggering affect of anger, which Monteverdi’s concitato genere attempts to portray.

Rubens, Seneca und Monteverdis achtes Madrigalbuch

Musik fürs »Eiserne Zeitalter«

The Problem of Sound and its Fetishisation in Music  This essay seeks to describe a number of fundamental problems in approaches to the sonic manifestation of a musical work of art that arise from a composition-historical treatment of the timbral dimension. Following on from Theodor W. Adorno’s reflections in his text ’On the Fetish Character in Music and the Regression of Listening’, the author examines the current situation of music and calls for a renewed critical reflection.

Zum Problem des Klanges in der Musik und seiner Fetischisierung

Music Historiography with Luhmann: Problems and Possibilities of a (Meta-)Systems-Theoretical Perspective  Addressing musical historiography from the perspective of Niklas Luhmann’s systems theory would not initially seem an especially promising approach. One can, however, credit systems theory with a certain competency when it comes to some current challenges faced by historical musicology, such as the problem of defining its object and the epistemological uncertainties in the course of historical analysis. Following on from this observation, the present text presents an approach that describes music as a metasystem based on the structural coupling of biological, psychic and social systems. The article connects this to musical historiography in several respects: in addition to Luhmann’s reflections on theories of evolution and history, it asks how far the connection to biological, psychic and social system references is of historical relevance for the practice of musical historiography.

Probleme und Möglichkeiten einer (meta)systemtheoretischen Perspektive

Musikgeschichtsschreibung mit Luhmann

Expression of a Voice. The Way Bob Dylan Sings  This text sets itself several tasks. Firstly, it describes the inner diversity of Bob Dylan’s voice from the early folk years, via the album Nashville Skyline, to the late ›Never Ending Tour‹ and the albums of that period. The concern here is singing and language, the inner temporality of the voice and finally the interplay between performance and musical organisation. The analysis of Janis Joplin’s 1967 performance in Monterey shows how and why there is no contradiction between the show and the structure. The text ends with analyses of three Dylan songs that concentrate on extremely different types of vocal (re)presentation: ›Blowin’ in the Wind‹ (1962), ›Workingman’s Blues #2‹ (2009) and ›That Lucky Old Sun‹ (2015).

Wie Bob Dylan singt

Ausdruck einer Stimme

Improvisation 

New and Well-Known Findings in Performance Research The expanding research area of musicological performance research is still very vague in its methodological outlines and controversial in the scope of its content. Methodologically speaking, this relates to a difference between computer-assisted and hermeneutical procedures, which also leads to differences between the respectively examined performance parameters and models in performance history (especially in the case of the 19th century). The present essay comments on these fundamental problems with a review of the following publications: Laure Spaltenstein, Berlin 1830, Vienna 1870, Munich 1910. Eine Begriffsgeschichte musikalischer Aufführung im 19. Jahrhundert, Mainz 2017; Tobias Pfleger, Entschlackte Romantik? Die Sinfonien von Ro­bert Schumann in den Interpretationen historisch informierter Aufführungspraxis, Sinzig 2016; Elvira Seiwert, Enthüllungen. Zur musikalischen Interpretation im Zeitalter ihrer technischen Reproduzierbarkeit, Springer 2017.

Neues und Altbekanntes aus der Interpretationsforschung

Beethoven, doch ein Romantiker?

Weltbezüge in der Musik Mathias Spahlingers von Tobias Eduard Schick

Musik und Welt

Ein Jahrbuch

Psychoanalyse und Musik

Musik & Ästhetik, 2019, Jg. 23, Ausgabe 89

Carl Loewe, Or, The Great Misunderstanding: Attempt at an Explanation – While Carl Loewe’s works tend to be viewed as stuffy and old-fashioned nowadays, the author uses interpretation-historical analyses to show that the contemporary view of Loewe is still tied to an interpretative approach closely connected to the nationalistic propaganda of the German Reich in the Bismarck era, and later the Third Reich. This approach, however, directly contradicts the way in which the composer himself performed his works.

Ein Erklärungsversuch

Carl Loewe oder das große Missverständnis

Machaut’s Dissonances – The present text conceptualizes the use of dissonances in Guillaume de Machaut’s music from a historical perspective. As the 14th-century theory of contrapunctus excludes dissonances from compositional technique, the examination of dissonance in the context of contrapunctus diminutus must be understood as a justification of its very presence, not a set of rules for its use. Instead of rules, we find a doctrine of figuration that works with fixed melodic building-blocks, presented in the Berkeley manuscript with verbula (little words). Through the use of these melodic building-blocks, the dissonances are integrated very naturally into the textures. Examining Machaut’s two-part ballads in particular, the present text lays out a figurational vocabulary of melodic and rhythmic phrases as well as a further diminution technique, namely syncopation. Both techniques are applied without restrictions to the music’s vertical dimension. Hence the use of dissonances is only indirectly regulated via the stylistic boundaries of figuration.

Machauts Dissonanzen

Irony of Audibility. Ole-Henrik Moe’s »Three Persefone-Perceptions« for Violin Solo – Ole-Henrik Moe’s Three Persefone-Perceptions hide a rich repertoire of nuances behind a surface of repetitive gestures such as tremolos and crescendo-decrescendo sequences. Even though the details of an extremely differentiated overtone technique are clearly audible, the listener is almost forced to understand these as mere side effects of the primary gestures of the piece, much too differentiated to be actually composed. The fact that nothing is hidden in this piece, everything is on the surface, and still the listener is almost bound to misinterpret the piece in a fundamental way because of preconceptions about what can be done and what can not be done in music, could be seen as an irony of audibility: the piece is a proposal, but it does not try to convince the listener, because that very effort would compromise the inherent quality of its artistic point of view.

Ole-Henrik Moes Three Persefone-Perceptions für Violine solo

Ironie der Hörbarkeit

Paul Thissen, Pia Praetorius, Dominik Skala, Clytus Gottwald

Kirchenmusik

In Search of a Lost Place: The Schubert Explorations of the Singer Julian Prégardien – Although one often hears laments about a supposed crisis of the traditional Lieder recital, the Lied genre is actually receiving a particular amount of tension at present. A young generation of singers are making the songs their own, below the threshold of an institutionalized performance pose that is considered exclusive. This results in astutely programmed festivals and concert series; standardized recitals are receding behind individual concept albums. The singer Julian Prégardien, who thinks in terms of historically informed performance practice, stands out with two special Schubert projects: he has released a CD entitled Schubertiade, which imagines Schubert’s songs in their context prior to the invention of the Lieder recital. The focus is not a historicizing reconstruction, but rather an imaginary place in which the songs are brought to life under both their past and present conditions. A second project creates a dialogue between different versions of Schubert’s Winterreise. As a medium for this dialogue, Prégardien has installed a web platform where he also plans to create a »digital salon«.

Die Schubert-Erkundungen des Sängers Julian Prégardien

Auf der Suche nach einem verlorenen Ort

»I am a happily gifted person«: Artur Schnabel’s Correspondence with Therese Behr-Schnabel – This correspondence offers extensive insight into the living and working conditions of musicians in the first half of the 20th century. The fact that this is a dialogue between a married couple who are artistic equals but of different social backgrounds (Austrian provincial bourgeoisie with Jewish roots on the one hand, the metropolitan German educated class on the other) touches time and again on events and topics in their historical context, which ranged from the eventful to the catastrophic. In the case of Artur Schnabel, it is particularly instructive to observe how dramatically the distribution of recordings fundamentally transformed the interpretation, indeed the entire perception of music. His determination to cling to traditional views and intentions of musical presentation produced results that are still impressive today, but it also has aspects that can be considered tragic.

Zum Briefwechsel Artur Schnabel – Therese Behr-Schnabel

»Ich bin ein glücklich Begabter«

Hans Zender, das Hören und die Affekte

Der »Fall Hindemith«

Wilhelm Heinses Hildegard von Hohenthal (1795/96)

Eros, Körper und Musiktheorie

Musik & Ästhetik, 2017, Jg. 21, Ausgabe 83

Einleitung

A Book for the 20th Century: Paul Bekker’s Beethoven of 1911 – The essay attempts, from a distance of 100 years, a characterisation of Paul Bekker’s book on Beethoven and an appraisal of its effect. Here there is a particular focus on three aspects: its widely-praised, but also often-criticised »poetic« language (descriptions of music), the purpose behind the analytical survey of Beethoven’s work by genre, and the image of history contained in the overall construction. A few of the traces left in Beethoven scholarship by Bekker’s book are discussed separately.

Paul Bekkers Beethoven von 1911

Ein Buch für das 20. Jahrhundert

Wagner’s Phantasms: Paul Bekker with Lacan – The text is not a commentary on Paul Bekker’s Wagner: Das Leben im Werke of 1924; it would be more accurate to describe it as inspired by the monograph. Two aspects of Bekker’s Wagner interpretation seem especially questionable today: on the one hand the author’s stance, which leads him to interpret Wagner not from a historical perspective, but rather within his own contemporary horizon; and on the other hand, Bekker’s original and productive reversal of the traditional life/work approach to biography. The article begins by following these central ideas and puts forward a subject- and space-theoretical view of the places where Wagner lived for discussion. An interpretation of the final scene of Siegfried then transfers this discussion onto an engagement with Wagner’s work. If one adopts Bekker’s interpretative stance today, however, the limits of Bekker’s interpretation, which revolves around Wagner as a person, become clear.

Paul Bekker mit Lacan

Wagners Phantasmen

The Negative Body and the Reverse of the Mirror: An Essay with Paul Bekker on Anti-Semitism in Wagner’s Work – Paul Bekker’s approach differs clearly from the manner in which anti-Semitism in Wagner’s work has been discussed in recent decades. Firstly, Wagner’s »anti-Semitic portraits« are directly evident for him – a fact, not a scandal. Secondly, Bekker argues neither politically nor morally, not even historically, but only aesthetically. Only in the artistic aspects of the works does the question of anti-Semitism become relevant. Thirdly, he sees these elements less »romantically« than »realistically«. The way in which music opens up »physis« in Wagner’s work also enables it to produce negative bodily images and make them anti-Semitically »readable«. Fourthly, one must distinguish between this physiognomic aspect and the psychological »exclusion of the other« that affects Wagner’s late works as a whole. The consistency with which Bekker pursues his aesthetic line ultimately proves more complex than the usual political discussions about anti-Semitism in Wagner.

Versuch mit Paul Bekker über Antisemitismus in Wagners Werk

Der negative Körper und die Rückseite des Spiegels

The Final Problem as a Construction Idea: Paul Bekker’s Book on Mahler – By Bekker’s own account, his books rest on specific »construction ideas« developed in the respective first chapter (most comparable to Max Weber’s »ideal type«). The »construction idea« of the Mahler book lies in setting up two polar types that, according to Bekker, define the history of the symphony genre: the »Beethoven symphony« and the Mahler-influenced »final symphony«. Despite the seemingly rigorous restriction to two convenient polar principles, Bekker manages to open up a new perspective on the symphonic field of the 19th century that, with the category of the »final problem«, identifies a central point of the genre’s development.

Zu Paul Bekkers Mahlerbuch

Konstruktionsidee Finalproblem

»Battle Cry« or »Unanswered Question«? On the Ambitions of Paul Bekker’s »Neue Musik« – Paul Bekker’s Neue Musik (1919) is considered an important founding text for the terminological establishment of this phrase in the musical discourse. Here Bekker attempts to determine, according to stylistic typology, the epoch-defining caesura after which the new was identified as something exceeding previous things (I). Whereas his »sociological aesthetics« of 1916 had still subordinated music to a community-forming ideal, the emphasis is now on the critical substance of aesthetic and political practice (II). In contradistinction to the educated middle-class attitude to reception, Bekker conceives the aesthetic dimension of music as an equally indeterminate and original space of human self-disclosure (III). Through the polemical discourses of subsequent years, New Music experienced a terminological, historical and institutional consolidation (IV) from which it draws both its preconditions and its (self-)critical impulse today (V).

Zum Anspruch von Paul Bekkers Neue Musik

»Kampfruf« oder »unanswered question«?

Paul Bekker, the Sociologist of Music – Paul Bekker’s book Das deutsche Musikleben (1916) was one of the first works of music sociology in Germany. With its central thesis that a musical work only attains its form in the listener’s perception, Bekker parted ways with the traditional object-centred concept of form, in which the shaping of the form is carried out exclusively by the composer. On the one hand, society provides the conditions for the production of works and thus enables their »shaping«, enables them to take form. But on the other hand, the work, as a social sound symbol, holds a society-forming potential whereby the perceptual process – in so far as it succeeds – allows listeners to develop into a cultural community. Bekker’s aesthetics turns away from the aesthetics of autonomy and aims to overcome the chasm between art and life. His thesis that form only comes about in the listener’s consciousness anticipates the musical aesthetics of reception that gained current relevance in the second half of the 20th century.

Paul Bekker, der Musiksoziologe

Beethoven: Die Klaviersonaten

Werner Egk, Heinrich Strobel und die Nicht-Bewältigung der Vergangenheit

Inglorious friends

Paul Bekker

Musik & Ästhetik, 2016, Jg. 20, Ausgabe 77

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.

Lieferbar

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

»Hostile takeover«. Gottfried Weber, Adolf Bernhard Marx and the bourgeois »Harmonielehre« of the 19th century Current discourse on a »historical informed music theory« focuses on the 15th to 18th century, while the 19th and 20th centuries are rarely considered in this context. Rather, nineteenth- and twentieth-century music theory is frequently conceived as representative of »systematic« music-theoretical concepts. Nineteenth-century music theory effectively seems to be separated from eighteenth-century music theory by a categorical rupture that can be traced in the origins of the German tradition of »Harmonielehre«. These origins were closely connected to the breakdown of a professional music education supported by aristocracy and church institutions during the ancien régime. In the young bourgeois society the instruction of composition changed its social context: many representative German theorists of harmony, such as Gottfried Weber and Adolf Bernhard Marx, were autodidactically trained music amateurs with only a rudimentary compositional and music-theoretical basic knowledge. Weber transferred a notion of »scientific scholarship« based on logical deduction and analogy (»Folgegleichheit«) that he had encountered during his study of law to music theory &#8211; a notion that he does not recognize in the »vexatious figured bass manuals«. In a mechanistic and systematic manner the principles of scale degrees and inversions are expanded into vast combinatorial matrices of possible chord progressions. This highly speculative method removes music theory significantly from compositional practice, thus supporting the idea of impenetrable artistic decisions attributed to the musical genius and their independence from musical craftsmanship. Weber&#180;s »mathematical« exploration of pitch space is representative of the »combinatorial space« (Catherine Nolan) characteristic for nineteenth-century music theory that finds its logical consequence in Arnold Schönberg&#180;s »method of composing with twelve tones which are related only to one another«.

Gottfried Weber, Adolf Bernhard Marx und die bürgerliche Harmonielehre des 19. Jahrhunderts

Feindliche Übernahme

Binary Formal Strategies in Mozart&#180;s Minuets Minuets in Viennese Classicism fundamentally oscillate between binary and ternary character. Formally speaking they are binary, but their content is rounded off with thematic-motivic reappearances. The minuets with a reprise following a middle section (ternary form) are relatively uniform, while the striving for completion in the forms without a reprise (binary form) leads to a variety of solutions. The different strategies and varieties of thematic rounding are systematically laid out, using the example of Mozart&#180;s two-part minuets. The article ends with a closer analysis of an individual work in terms of its formal effects.

Formstrategien der Zweiteiligkeit in Mozarts Menuetten

»Structure in Schönberg, figure in Webern«: Harald Kaufmann&#180;s Polemical Analysis Harald Kaufmann&#180;s physiognomic view of music is not particularly interested in either the person of the composer nor the social aspect. His aim is rather to bring out the particularity of each individual case. Kaufmann points out that his analyses are driven by »polemical opinions«; this takes him away from both Adorno&#180;s and Benjamin&#180;s physiognomic approaches. »Structure« and »figure« are the polar concepts Kaufmann takes from the debate of the 1950s; by switching their respective applications &#8211; structure in Schönberg and figure in Webern &#8211; he questions the opposition between Schönberg the traditionalist and Webern as the supposed forerunner of serial composition. The result is impressive, and shows several parallels with Derrida&#180;s deconstruction.

Harald Kaufmanns polemische Analyse

»Struktur bei Schönberg, Figur bei Webern«

What Is the Meaning of Musical Substance? This essay develops the distinction between form and content in music, drawing especially on Hegel and Eduard Hanslick; it specifies and qualifies the immanentist view that music consists only of formal-aesthetically describable properties. In a second step, it formulates the nature of substance <Gehalt> as opposed to content <Inhalt>. Content consists of clear world-relations that the music gains through its function, its vocabulary or through texts. Substance, on the other hand, is a more abstract factor: conception, poetic ideas, thoughts. They come into being through the composer&#180;s conscious individuation of the musical form. All decisions involved in this process concern something that is neither form nor content; we can recognize this surplus as the substance of works.

Was heißt musikalischer Gehalt?

What has music to do with emotion? Hanslick&#180;s question and the »strong« cognitivism The focus of this paper is on Peter Kivy&#180;s cognitivist account of the relationship between music and emotion whereas the emphasis is placed upon the question of how music arouses emotional responses in listeners. According to Kivy, music is not able to evoke gardenvariety emotions in any aesthetically relevant way which it can embody as its audible properties. However, it can induce full-fledged emotions of a special kind (excitement, awe, wonder, etc.) that are determined by the aesthetic properties of a musical work and not by its emotional character when it possesses any. After presenting Kivy&#180;s position, the author critically examines its underpinning assumptions. It is argued that Kivy&#180;s explication of the mechanism of musical arousal and of the nature of »musical emotions« which is based upon a »reductionist« notion of aesthetic/expressive properties is inadequate.

Hanslicks Frage und der »starke« Kognitivismus

Was hat Musik mit den Gefühlen zu tun?

»An Organic Sense of the Absolute«. E. M. Cioran and His »Ecstatic« Understanding of Music. E. M. Cioran is considered an outstanding philosophical exponent of pessimism and radical scepticism in the 20th century. His profound attachment to music is barely ever central to his work, but is evident in many peripheral references. What logocentric philosophy considers deficient in music &#8211; its aconceptual ambiguity or haziness, its affinity for ecstasy and intoxication &#8211; is to Cioran evidence of a higher quality »beyond all reason«. He explicitly admired the »great music« (especially the German) between Bach and Brahms as mankind&#180;s highest cultural achievement. His tendency to mention very few composers by name, and only rarely works, let alone details of works, could indicate that he perceived music &#8211; especially in his statements on J. S. Bach &#8211; in an ecstatic-mythical fashion as a form of nameless, unrecognisable »cosmic order« &#8211; and be taken as a refutation of his own »curses on the world«, which paradoxically affords a mysterious sense-space to the claimed senselessness of all reality.

E. M. Cioran und sein ekstatisches Musikverständnis

»Eine organische Empfindung des Absoluten«

Nachruf auf Friedrich Hommel

Monteverdi auf dem Jahrmarkt

Literarische Musikästhetik

Institut für Musik und Ästhetik

Musik & Ästhetik, 2012, Jg. 16, Ausgabe 63

One More Time: Consciousness-Raising or Redemptive Critique A Music-Philosophical Reading of the Benjamin-Adorno Dispute. Counter to the usual tendency to pay attention to Adorno&#180;s criticism of Benjamin, but not to acknowledge Benjamin&#180;s criticism of Adorno, this article begins by showing what exactly Benjamin criticised in the early version of Adorno&#180;s Versuch über Wagner, where he insisted with remarkable harshness on the irreconcilability of »consciousness-raising and redemptive critique«. The second section attempts to flesh out this idea with the help of Adorno&#180;s Wagner analyses and pin down the different notions of time, in which the thinkers both meet and part ways. The third section uncovers the divergent understandings of »mediation« (Vermittlung), which accompanies both »consciousness-raising« and »redemptive critique«. The fourth suggests ways to develop Benjamin&#180;s presentist critique of Adorno&#180;s text on Wagner further, also showing where the later book version is directed against Benjamin&#180;s essay on technical reproduction, before ending with an outlook on the relationship between the work-aesthetic and reception-aesthetic perspectives.

Eine musikphilosophische Lektüre des Disputs zwischen Benjamin und Adorno

Noch einmal: Bewußtmachende oder rettende Kritik

»Je ne la puis oblier«. A Binchois Fantasy This text is an analysis of the chanson Je ne fai tousjours by Gilles Binchois, composed in the 1430s. In the tradition of Historische Satzlehre, the study of source material is here combined with contemporary theoretical and culture-historical documents as well as unwritten musical practices in order to describe and interpret a special characteristic of this chanson: the conspicuously unbroken application of a contrapuntal model used for improvisation in the 15th century (fauxbourdon with low countertenor). Following a comprehensive discussion of the compositional means employed by Binchois, the essay examines the question of whether the composer used this compositional model in this particular context in order to achieve a particular rhetorical effect.

Eine Binchois-Phantasie

»Je ne la puis oblier«

On Naive and Sentimental Ways to Listen to Mahler. Observations on the Contemporary Reception of His Music The article discusses transformations in the way Mahler&#180;s music is heard. The main focus is the current Mahler reception, but in order to gain a full picture of contemporary reception contexts, a few important stages in reception history are briefly commented on. The emphasis here is on the different reactions to the verdict of banality, which confronted Mahler&#180;s music from the start. Reactions include Schönberg&#180;s classicist view on Mahler as well as Adorno&#180;s modernist or postmodernist critique. With reference to the present situation, the article addresses the current sociological discourse on the sovereign handling of the objects of today&#180;s consumer society, as opposed to the older critique of reification or commodity fetishism, before discussing Mahler recordings on compilations and Mahler in film and television.

Beobachtungen zu seiner gegenwärtigen Rezeption

Über naive und sentimentalische Arten Mahler zu hören

Mahler and America: A Sketch The American years of Gustav Mahler (1908-1911) constitute the final, by now thoroughly researched phase of his life and his artistic existence, which still raises numerous questions for interpretation. This article examines them with reference to the paradoxical situation of American music life on the East Coast before the First World War, which was highly developed institutionally, but artistically dominated by European composers and performers. Mahler&#180;s successful work as a conductor and the reception of his music show an attempt to exert considerable music-political influence on American musical life, but at the same time stand in the context of aesthetic constellations in American modernity before 1910, which was located between artistic emancipation (Ives) and a pessimistic »redemptive culture« (Mason). The article concludes by arguing for a de-mythologisation of Mahler&#180;s American period.

Mahler und die amerikanische »Redemptive Culture« um 1900

Mahler und Amerika – eine Skizze. Neue Weltanschauungsmusik?

»My Time Will Come«. Gustav Mahler 100 Years after His Death With the particular self-confidence he displayed as an artist (»in art I make no concessions«), Mahler&#180;s comment on the fact that Richard Strauss was more »successful« as a composer in his lifetime was the prediction: »My time will come«. Both concert hall programmes and record catalogues impressively demonstrate Mahler&#180;s dynamically growing »popularity« in public musical life over the last thirty-odd years. But the academic reception of his work also testifies to an unprecedented interest in researching Mahler&#180;s life and the interpretation of his musical output. Never before have as many books appeared within a few years before and during the centenary of a composer as in the last few years for the anniversaries of Mahler&#180;s birth and death in 2010/11. If one looks at the range of interpretations and the diversity of their methods, one discovers a second truth to Mahler&#180;s prediction: Establishing a co-operative pluralism of interpretative methods and parameters, recent scholarship opens up far-reaching dimensions of »decoding« the multi-layered web of relationships and references in Mahler&#180;s »polyphony«.

Gustav Mahler hundert Jahre nach seinem Tod

»Meine Zeit wird kommen«

Das Theater, die Wissenschaft, das Publikum und die Politik Gespräch mit Barbara Mundel und Dominica Volkert

»Histoire(s) du cinéma« by Jean-Luc Godard: The Resurrection of Images Jean-Luc Godards four-part, four-and-a-half-hour film Histoire(s) du cinéma (Tales of the Cinema, F/CH 1988-98) is a monumental montage of film excerpts, images, texts and music, a subjective history of cinema as a film &#8211; as opposed to a verbally narrative historiography. Histoire(s) is simultaneously a climax in Godard&#180;s directorial work and the starting point for his parallel and subsequent films. No part of the film has gained as much attention as the short excerpt from the first chapter, Toutes les Histoires (All the Stories), examined here. Using the author&#180;s own score of Histoire(s), the method, and thus the cinematic thought of Jean-Luc Godard, is presented and explained: what is the meaning of this montage of a film excerpt from A Place in the Sun by George Stevens (1951) and footage from a concentration camp with the resurrection painting Noli me tangere! by Giotto, a text from Robert Bresson&#180;s 1951 film of the novel Diary of a Country Priest by Georges Bernanos, an early viola sonata by Paul Hindemith (op. 11 no. 4, 1919) and Godard&#180;s own commentary?

Die Auferstehung der Bilder

Histoire(s) du cinéma von Jean-Luc Godard

Die Rolle des Klangs bei Jean-Luc Godard, analysiert von Jürg Stenzl

Bilder hören – Musik sehen

Musik & Ästhetik, 2011, Jg. 15, Ausgabe 60

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

Carl Dahlhaus and the Political Having grown up in a household where art was cultivated as a means of resisting total domination by a terror regime Dahlhaus still considered the protection of art's autonomy as an alternative to society indispensible within a democratic state. Dahlhaus adopted various Marxist criteria in the 1950s and early 1960s primarily following Adorno; by the 1970s at the latest however in the face of rampant tendencies towards vulgar-sociologically agitative revolts and an undiminished rigidity in the aesthetic doctrines of real-socialist cultural bureaucracy Dahlhaus saw a confirmation of his basic belief that the work of art must be perceived as an autonomous organism. For only then can one explore its conceptual and emotional potential recognise the »premonition« of possible freedom within it and thus counteract its misuse as an ideologically instrumentalised object.

Carl Dahlhaus und das Politische

New Paths. Carl Dahlhaus and Ludwig van Beethoven In the 1970s if not earlier the essays on Beethoven by Carl Dahlhaus provided the discussion with far-reaching new impulses. The idea of a structural and processual thinking that became a music-historical reality through Beethoven's compositional work runs through Dahlhaus's texts on the subject extending to his 1987 Beethoven monograph. The relationship between the categories of >structure< and >content< that still dominates the current discussion was of increasing interest to Dahlhaus though he did not express any final preference: on the one hand he does not want the understanding of technical details as an irrevocable prerequisite for all historiographically and hermeneutically relevant statements to be mistaken for a reduction to formal and technical concerns; on the other ahnd his reluctance to indulge in irresponsible speculation about the profile of compositional content does in fact lead to an ennoblement of structural analysis as the methodical foundation of historiography. At the same time however this methodical decision systematically serves an exclusion of most reception- and interpretation-historical aspects from historiography on the grounds that their material basis can never take on the textual coherence that the compositional history (viewed by Dahlhaus as the >problem history of composing<) offers for text-based structural analysis. Today the question is to what extent a reading of Beethoven is possible without an implicit reflection on the history of the practical (not only hermeneutical) interpretation of Beethoven.

Carl Dahlhaus und Ludwig van Beethoven

Neue Wege

Work Versus Theatre. Carl Dahlhaus in Conflict with Richard Wagner This article critically examines aspects of Carl Dahlhaus's Wagner interpretation which revolve in different ways around the same basic problem: the conflict between the concept of the work and the theatre on the one hand and the corresponding forms of analysis on the other. The first section attempts to develop the idea of a work that is theatrical and musical in itself with all its contradictions. Section II analyses the thesis of Wagner's empirical and metaphysical concept of music. In a countermove to Dahlhaus it shows the significance of the late writings in practical theatrical terms. The theme of the third section is Dahlhaus's music-analytical contribution to the field of Wagner research: at the time his reflections on »musical prose« and leitmotivic complexes stood for a new beginning in musicology but passed over the problematics of sound and orchestral technique. It is precisely this question which embodies something in the manner of a theatrical a priori for the music that is sketched briefly to conclude the essay.

Carl Dahlhaus im Konflikt mit Richard Wagner

Werk vs. Theater

At the Opera with Carl Dahlhaus. The future historian as a music critic Before the start of his academic career Carl Dahlhaus (1928-1989) worked at the Göttingen Theatre as a dramatic adviser and from 1960-62 as an editor and music critic at the Stuttgarter Zeitung. His five reviews of opera productions by Wieland Wagner show the changes in his view of the relationships between performers work and production with a clear opposition to a directorial approach that disregards the >text of the work<. - This position was consolidated in his 1984 essay on >director's theatre< [Regietheater]; it stems largely from the defence also evident in the realm of instrumental music and in part politically motivated of work autonomy - even if the >work concept< is a problematic one in opera history before Wagner and Verdi.

Der zukünftige Historiker als Musikkritiker

Mit Carl Dahlhaus in der Oper

Wieland Wagner inszeniert Salome in der Stuttgarter Staatsoper (Stuttgarter Zeitung 26. Februar 1962)

Jochanaans Tod

How does Dahlhaus write History? The chapter »Lied-Traditionen« (1814-1830) from »Die Musik des 19. Jahrhunderts« The author analyses a chapter of music history by Carl Dahlhaus with reference to the questions both explicitly posed and unmentioned to which the text can be considered a response. This also offers an opportunity to compare this musical historiography with the premises laid out by the author in Grundlagen der Musikgeschichte [The Foundations of Music History] (1977) and locate these within the context of scientific history. It transpires that Dahlhaus is a practitioner of a decidedly modern self-reflexive type of musical historiography in the sense of a >sentimentalist historicism< but at the same time also continues some of the main lines of earlier genre historiography - like his predecessors he still sees Schubert's Lieder as the solitary peak of the Lied traditions in the European context around 1820.

Das Kapitel Lied-Traditionen (1814-1830) aus Die Musik des 19. Jahrhunderts

Wie schreibt Dahlhaus Geschichte?

Lied-Traditionen

Analysis of a Value Judgement. »The Idea of Absolute Music« by Carl Dahlhaus This essay deals with Carl Dahlhaus's central work of aesthetics: Die Idee der absoluten Musik (1978). His theory that the idea of absolute music was the paradigm of 19th-century musical aesthetics and the guiding idea of the Classical-Romantic period is critically examined from a philosophical and historical perspective using the sources cited by Dahlhaus himself and essentially disproved through new readings of texts by Karl Philipp Moritz Wilhelm Heinrich Wackenroder Ludwig Tieck E. T. A. Hoffmann Arthur Schopenhauer Richard Wagner and Eduard Hanslick.

Die Idee der absoluten Musik von Carl Dahlhaus

Analyse eines Werturteils

Metahistory and the Scepticism of the Historian. New Music and the Avant-garde in the Work of Carl Dahlhaus Although Carl Dahlhaus belonged to the generation of leading West German musicologists who helped to establish New Music publicistically after 1945 his view of modernity was characterised by a scepticism based as much on questions of scientific history as aesthetic premises. He acknowledged the groundbreaking significance of the developments before the First World War in the work of Schoenberg and others - to an extent also in the avant-garde - for the physiognomy of the music of the 20th century but he felt that its establishment had occured at the expense of the Classical-Romantic work concept. Dahlhaus therefore read the historical event of New Music as the document of a failure; not in Adorno's emphatic-auratic sense but as the real process of the decay of 19th-century music whose image was accordingly corrected. This negative assessment was to an extent mitigated by a meta-historical approach which Dahlhaus adopted to thematicise and subject to irony the fundamental problematics of any understanding of the (respectively) new - not only on the part of the historian but also the composer. Dahlhaus's attempt at a latent equation of critical and productive methods is not without risks however: it involves both the danger of a circular argument and a tendency towards a one-sided interpretation of developments based on other historical and intellectual-historical foundations than European art music.

Neue Musik und Avantgarde bei Carl Dahlhaus

Meta-Historie und die Skepsis des Historikers

Dahlhaus in America With the translation of eleven of his books into English Carl Dahlhaus is without question the most influential European musicologist among Anglo-American music historians in the past generation. Two of his works in particular have exercised unusual attention in America: his Foundations of Music History and The Music of the 19th-Century. Yet by the time of the author's death in 1989 his aura was distinctly in decline with the advent of new currents of post-modernist thought evident prominently in the »new musicology« arising in American circles. Nonetheless many of Dahlhaus's major concerns - particularly in situating the musical artwork between aesthetic and social poles - are ones that are still of acute relevance in American musical scholarship today and in which Dahlhaus's lasting influence may yet be discerned.

Dahlhaus in Amerika

Carl Dahlhaus. Gegenwart und Historizität

Musik & Ästhetik, 2008, Jg. 12, Ausgabe 47

Beethoven and the Crisis of the Subject Part V-VI Following examination of the threat to the subject and the signatures of negation and violence in Beethoven's late works the author now addresses two categories that are constitutive for Beethoven: the Promethean and Dionysian. Prometheus stands for the heroic self-assertion of the subject in the middle period and Dionysos for its dissolution or destruction in the late works. Dionysos stands in an antithetically analogous relation to Beethoven's Christianity which is characterised by a longing for restitution and pleas for mercy. At the same time however the Dionysian principle draws Beethoven's late music into a radical temporality and turns it in a precise sense into an art that refers to the future as atemporal mode. In this respect Beethoven's music seems to anticipate Nietzsche's philosophy. Finally a biographical sketch based on the psychoanalytical concepts of the »replacement child« and the »alien self« is devoted to the motif of the threat to and uncertainty of Beethoven's identity as a biographical subject. Such an investigation does not provide any causal explanations of the music's concerns but certainly an additional resonance space that can enrich and stimulate interpretation.

Beethoven und die Krise des Subjekts Teil V-VI

»Shir shavur«: Observations on a choral work by Heinz Holliger In his 2004 choralwork shir shavur [Broken Song] Heinz Holliger used texts by the Israeli poet David Rokeah. The poems were written in Hebrew but Rokeah also made a rough German translation for Holliger which the latter used together with the original Hebrew. The point of departure for this analysis is the double meaning of the concept of the idea: firstly the constructive idea that occurs to the artist and secondly what Hegel meant when he spoke of the >sensual appearance of the idea<. This difference returns in Holliger's composition. At the moment it becomes sound the work's construction one of the most complex in Holliger's oeuvre takes on a simple clarity and it is precisely this that makes the piece such an undeniable success. For the analysis this led to the decision not simply to show how it was made but rather to approach analytically what it is.

Anmerkungen zu einem Chorwerk von Heinz Holliger

Shir shavur

Balancing Acts. On culture shock and musical experience The experience of a culture shock can but by no means must be accompanied by states of shock as known from medical diagnostics. As a rule culture shocks have phases of differing intensity. Taken as a whole they constitute crises of adaption whose progressions are typical for confrontations with things that are initially remote unfamiliar or alien; hence all people go through these at some point. One case study shows that discourses on unfamiliar musical experiences have a great deal in common with ways of dealing with some of the processes typical for culture shocks. The focus is always on communicative actions where supposedly illogical or unreasonable have played an important part if not caused disturbances. Those who do not give up engaging with such experiences broaden their horizons in the process.

Über Kulturschock und Musik-Erleben

Balanceakte

The Concept of Musical Ascription Following on from Ruth Sonderegger's characterisation of aesthetic experience as a game between interpretative movements that continually dissolve and revive one other listening is defined here as an undecided balancing process between formal and speech-like or structural and material elements. Music is thus understood as multicoloured and listening as discontinuous. The essay then examines a way of ending this confusing game of interpretation prematurely by ascribing in a form of hermeneutic coup the work directly to the ego and retaining only its pragmatic significance and utility. Four characteristics of such an ascription are examined: forcing a connection; pushing things together in images or on stage; the relation to a current context; the awareness of the ephemerality of this very interpretation.

Der Begriff der musikalischen Zuschreibung

Art as a Way of Coping with Facticity This essay suggests a functional definition of art as a social system that analogously to politics law economics science and religion solves a specific problem in society. The function of art here is conceived not as an external supplementary aspect but is rather intended as a definition in the sense of a demarcation from other systems. This system-theoretical approach which assigns both a less problematic foundation and an appropriately central position to the Kantian idea of »purposiveness without purpose« is augmented by the phenomenological concepts of facticity and the imaginary in order to be able to represent art as the solution to the problem of facticity. In this way the essay attempts to outline not only a connection between art and society but also a concept of art as a genuinely social system.

Kunst als Faktizitätsbewältigung

A propos of Schönberg and Stefan George The fact that Stefan George was far from sympathetic to the expressionist modernity represented by Arnold Schönberg does not make their encounter in the musical-literary genre of the piano Lied any less of an event. Certainly it is true that the music needs such poems far more than vice versa. But when the encounter between the two arts is so strongly characterised by an equal footing one could perhaps be tempted to believe that even perfection can still be enhanced. This is illustrated using the two George poems in Schönbergs Second String Quartet in F sharp minor op. 10 - Entrückung and Litanei from the cycle der siebente Ring - and the fifteen poems from Das Buch der hängenden Gärten set in the op. 15 songs. These works composed almost simultaneously from 1908 to 1909 mark the start of Schönberg's period of »free atonality«.

Apropos Schönberg und Stefan George

Sound Dramaturgy in Wagner This text deals with Tobias Janz's book Klangdramaturgie. Studien zur theatralen Orchesterkomposition in Wagners »Ring des Nibelungen« (Würzburg 2006: Königshausen &amp; Neumann). Its innovative capacity notwithstanding isolated problems of representation is enormous. Jazz corrects one-sided aspects of the few existing studies on this subject at the same time presenting his own far-reaching analytical approach to sound in Wagner's music.

Klangdramaturgie bei Wagner

Alienating Empathy. An essay on the Kubrick Soundtracks The idea of »contrasting« film music is as old as the sound film itself; applying this idea to Kubrick's films however as has been done time and time again overlooks the fact that in supposedly »contrasting« scenes one could just as easily speak of an »analogy« rather than a »contrast« between image and sound and of »empathy« rather than »alienation«. The Kubrick Soundtracks achieve something apparently contradictory: they both act as a means of empathy and as means of preventing empathy i.e. a means of alienation: they suceed in this because the soundtracks converge emotionally with film events on the one hand but also as pre-existing and usually very popular compositions render a direct empathic involvement with the events in the film problematic. This discrepancy touches on a central theme of Kubrick's work: the potential for music and art in general to be »charged« both morally and immorally.

Versuch über die Kubrick-Soundtracks

Befremdliche Einfühlung

Innerlichkeit und Affekt im Gesang des Mittelalters

Peter Gülke über musikalische Interpretation

Elio Matassi über Musik und Philosophie

Musik & Ästhetik, 2008, Jg. 12, Ausgabe 45

The Future in Ruins Essay on Charles Ives The second half continues parts I-III of the essay into detailed analyses. Ives' First Violin Sonata is analyzed through its relation between quoted church hymns and sonata form. The Second String Quartet and Fourth Symphony are then read as allegories both of American models of community and of the philosophy of history. The »Concord« Sonata is interpreted as a commentary on slavery and Ives' relation to the European musical canon. »The Unanswered Question« dramatizes tensions of individual and collective. The essay's conclusions suggests that Ives' songs are perhaps his strongest works those which imagine a different America than that of populist violence and aggression against the European cultural inheritance.

Richard Klein

Bücher, Übersetzungen oder Beiträge

Musik & Ästhetik, 2019, Jg. 23, Ausgabe 89

Musik & Ästhetik, 2017, Jg. 21, Ausgabe 83

Musik & Ästhetik, 2016, Jg. 20, Ausgabe 77

Richard Wagner und seine Medien

Musik & Ästhetik, 2012, Jg. 16, Ausgabe 63

Musik & Ästhetik, 2011, Jg. 15, Ausgabe 60

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

Musik & Ästhetik, 2008, Jg. 12, Ausgabe 47

Musik & Ästhetik, 2008, Jg. 12, Ausgabe 45

Musik & Ästhetik, 2007, Jg. 11, Ausgabe 42

Musik & Ästhetik, 2005, Jg. 9, Ausgabe 35

PSYCHE, 2004, Jg. 58, Ausgabe 8

Musik & Ästhetik, 2003, Jg. 7, Ausgabe 27

Musik & Ästhetik, 2002, Jg. 6, Ausgabe 21

PSYCHE, 2001, Jg. 55, Ausgabe 5

Musik & Ästhetik, 1999, Jg. 3, Ausgabe 11

Musik & Ästhetik, 1998, Jg. 2, Ausgabe 7

Musik & Ästhetik, 1997, Jg. 1, Ausgabe 1-2

PSYCHE, 1997, Jg. 51, Ausgabe 1

Musik & Ästhetik, 2020, Jg. 24, Ausgabe 96