Zur Zeit nicht lieferbar

The Power of Music in Hermann Hesse's »Glass Bead Game« In the disastrous decade 1931-1941 when trust in the future was as difficult as it was crucial for spiritual survival the novelist Hermann Hesse (1877-1962) conceived The Glass Bead Game. A tentative description of the life of the magister ludi Joseph Knecht. The work addresses the topic of universal harmony in the fabric of culture as well as the problem of how such harmony can heal the spiritual mental and emotional developments of individuals and society. This essay aims to show that what appears as an amalgam of four parts in different length style and apparent purpose is designed as a double-helix whose strands reflect the focal issues in the dual title; that music does not only feature prominently in the narrator's stories but also informs the deep structure of one of the two strands; and that while the glass bead game is a symbol of Hesse's utopian World of the Mind the magister ludi portrayed in the central Life is in turn a symbol of the game.

Die Macht der Musik in Hermann Hesses Glasperlenspiel

»Who's to say what's to say«. Notes on the Reception of Brian Ferneyhough's opera »Shadowtime« (in the Kontext of Niklas Luhmann's Theory of Art) There is no doubt that Shadowtime is too complex to serve any kind of communicational directness. The idea that one should focus on the Schoenbergian question of what music is does not lead to an adequate understanding of the music. Quite the opposite: the hermetic constructivism promotes a manner of perception which highlights the question of how it could be perceived. In modern society art - including music and »new music« in particular - is a highly specialised phenomenon. It is no longer possible to experience art with a natural naive approach. And if as in the case of Ferneyhough complexity itself becomes a feature of the music even the illusion of direct communication is lost. Shadowtime - and indeed Ferneyhough's music in general - cannot be understood by listening to a performance alone. Rather the correlation between sound and notation oscillates between different related aspects of its perceptibility. The music defines itself via processing its differences rather than through its self-identity. Correspondingly the opera not only lacks any sort of conventional plot but its multiplicity of constructional and semantic layers also makes it imposible to grasp on an immediate level. Ferneyhough's composition generates itself - just like Bernstein's poetics - within its own self-referetial operations within its autonomy: Modern art cannot be experienced from a generalising or any other point of view but only within its own specified »contextuality«. According to Niklas Luhmann this is characteristic for communication in modern society and its tendency towards second-order observations. The aesthetic quality of Shadowtime lies last but not least in the exemplary execution of modern social communication.

Anmerkungen zur Rezeption von Brian Ferneyhoughs Oper Shadowtime (im Kontext der Kunsttheorie Niklas Luhmanns)

»Who's to say what's to say«

Strange delicate sensual motion. Psychoanalytical Approaches to the Early Aesthetics of Hans Werner Henze Musicology and Psychoanalysis have remained strangers to this day. There are however very useful approaches to understanding musical phenomena from a psychoanalytical perspective. Following Lacan's model of imaginary/symbolic/real the present essay offers a reading of texts written by Henze during the 1950s in which the aesthetic of the free wild sound ist combined with the demand to communicate through music. It should be noted however that musical communication here is still - unlike in the later politically motivated phase - understood as an asprct of exceeding conventional sound-signs thus allowing the listener to dissolve traditional fixations of sense. To use Lacan's words this listening situation could be described as a musical representation of the ego which proves decidedly less stable than lingual self-representation and thus enables enjoyment as a state of temporary self-loss.

Psychoanalytische Wege zur frühen Musikästhetik Hans Werner Henzes

»Merkwürdige zarte sinnliche Erregung«

»Absolutely not symphonic« Schoenberg's Five Orchestral Pieces Op. 16 and the generic conventions of the symphony In a letter to Richard Strauss Arnold Schoenberg described his Five Orchestral Pieces Op. 16 (1909) as »absolutely not symphonic exactly the opposite of that«. However an analysis of the five pieces reveals that the nineteenth-century symphonic tradition has had a considerable influence on Schoenberg's Op. 16. This influence not only affects the formal organization and the content characteristics of the individual movements but also their relation to one another and their disposition within the composition as awhole which turns out to be a cycle.

Schönbergs Fünf Orchesterstücke op. 16 und die Gattungskonventionen der Symphonie

Absolut nicht symphonisch

»Indi non più desio«: Of Self-Denial and Desire. The Madrigals of Maddalena Casulana Following a brief summary of the sources and documents tracing the work of the composer Maddalena Casulana (c. 1540-c.1590) the present text examines the texts of her four madrigals for the collection »Il desiderio« (1566). An analysis of the five-part canzona »Cinta di fior« from Casulana's second book of madrigals (1570) also shows how the composer added quite particular qualities to the musical and literary language games in the madrgal of her time. These qualities point to Casulana's self-confident position as a professional composer singer lutenist which she asserted very much in keeping with the Italian Renaissance with a certain casual flair (»uns certa sprezzatura« Castiglione).

Die Madrigale von Maddalena Casulana

»Indi non più desio«: Vom Verzichten und Begehren

Murmurs beneath the Roaring The studies contained in this volume make the largely successful attempt to analyse the basic motifs underlying Adorno's critical understanding of Strauss' music. This attempt consists above all in setting apart those assessments which can be considered accurate perhaps also expandable from those which stem from the historically-restricted interests conditioning Adorno's insights. Focal points in the representations are Strauss' ties to Art Nouveau and his position on the music of Gustav Mahler. Concerning the latter problem area there is still too much of an implicit assumption of the socio-critical potential in Mahler's music - as opposed to the affirmative potential that is considered inherent in Struass' music. This view of Adorno's is no longer tenable in the light of reception and effect of these two composers in recent decades: the performance boom in the case of Mahler's works in particular has long since endowed them with even stronger affirmative qualities. Then however it would have to be clarified what is really meant by afformation today in the given socio-cultural conditions as evident in artistic achievements at the level of Mahler's and Strauss' music.

Theodor W. Adorno über Richard Strauss

Gemurmel unterhalb des Rauschens

Ästhetik der Installation

Die Gottesfrage in Arnold Schönbergs Oper Moses und Aron

Musik & Ästhetik, 2006, Jg. 10, Ausgabe 37

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Musik & Ästhetik, 2006, Jg. 10, Ausgabe 37