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Calligraphy is appreciated as an art form in many cultures, yet the stature of calligraphy in Chinese culture is unmatched. From the early period, it has been considered a supreme visual art form, a mean of self expression and cultivation. For centuries, calligraphy has profound meaning in Chinese society. Hardly surprising then that it is one of the most important sources of inspiration for contemporary Chinese composers. Yet, unlike folk tunes, pipa melodies, or Peking opera percussion patterns, as materials or elements for composition, Chinese calligraphy is elusive and almost too abstract to be rendered into aural experience. Still many composers tried. Wen Deqing has engaged extensively with calligraphy in his musical compositions and developed unique approaches based on the art form for nearly two decades. To explore the potential and expressivity in such an artistic endeavor, this essay provides a brief survey of the art form, and traces the usage of calligraphy in recent Chinese new music by composers such as Chou Wen-chung, Chen Yim, Qu Xiaosong and others. Then the essay examines closely Wen Deqing’s compositional approaches based on calligraphy in two large series of works.

Der Fall Wen Deqing

Kalligraphie und Tinte in der zeitgenössischen chinesischen Musik

The young Wagner’s encounter with Italian opera, especially the works of Vincenzo Bellini, played a decisive part in his compositional development. Starting from reflections on Wagner’s and Bellini’s musical training, the text discusses what influence Bellini’s <italic>Norma </italic>still may have had on Wagner’s mature works. Here the aria »Meco all’altar di Venere« proves to have been a model for numbers in Wagner’s operas that take a catastrophic turn. In <italic>Tannhäuser</italic> he deals with the bel canto aria, which in turn relates to the topic of the singing contest, as this would automatically have been associated with the bel canto tradition in the 1840s. Finally, the author compares the melodic shaping in the finales in <italic>Norma </italic>and <italic>Tristan and Isolde</italic> in order to discuss the question raised in secondary literature as to whether they are similar, and whether Bellini may even have acted as a model.

Bellinis Norma und ihr Einfluss auf Wagner

»Erfüllung der Tragödie«

Adorno’s thesis of the language-likeness of music is problematised and developed further from a language-pragmatic perspective. Music is language-like because it mimetises the <italic>power </italic>of language – or, more precisely, it mimetises the <italic>communicative </italic>power of language. According to this assertion, aesthetic experience calls upon us to make <italic>regulative </italic>use of communicative reason.

Die Sprachähnlichkeit der Musik nach Adorno

Zur Dialektik von Musik und Sprache

The language-likeness of music constitutes a central topos in Adorno’s philosophy of music. Music’s language-likeness was meant to secure its expressive possibilities, its comprehensibility and the binding nature of its forms. With the end of tonal music, however, its language-likeness became precarious. This article seeks to lay out Adorno’s understanding of language-likeness in post-tonal music by relating it to another central idea in his aesthetics: the similarity of poetic language to music. In doing so, it shows that, on the one hand, music-like language transgresses the boundaries of ordinary language, but, on the other hand, can only act as a model for a post-tonal language of music to a limited extent. Relating the language-likeness of music to the music-likeness of language thus results in a more nuanced understanding of linguistic and musical attempts at transgression. While every form of language art has to work through the terminologies of language, the musical forms that post-tonal music must work through are more fluid.

Eine Lücke in Adornos Musikästhetik

Sprachähnlichkeit der Musik, Musikähnlichkeit der Sprache

Instrumentalpädagogik 

CD-Neuerscheinungen mit Musik von Brice Pauset

Die Sprache der Melancholie – eine Karte der Welt

Alexander Wilfings Untersuchung zur anglophonen Hanslick-Rezeption

Hanslick’s Aesthetics Reloaded

Schreibrhythmen

Die musikalische Interpretation im Zeitalter ihrer wissenschaftlichen Aufarbeitung

Eine neue ›modulare‹ Formenlehre von Felix Diergarten und Markus Neuwirth

Komponieren ›mit‹ der Form

Zu einer Interviewsammlung aus dem Kreis um Gösta Neuwirth

Wie entstehen dabei Gedanken?

Musik & Ästhetik, 2020, Jg. 24, Ausgabe 93

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Musik & Ästhetik, 2020, Jg. 24, Ausgabe 93