Wörner / Scheideler / Rupprecht Tonality Since 1950

1. Auflage 2017
ISBN: 978-3-515-11589-6
Verlag: Franz Steiner
Format: PDF
Kopierschutz: Adobe DRM (»Systemvoraussetzungen)

E-Book, Deutsch, 345 Seiten

Tonality Since 1950 documents the debate of one of the most basic technical and artistic resources of music in the later 20th century. The flourishing of tonality – a return to key, pitch center, and consonance – in recent decades has undermined the common belief of its disintegration or collapse ca. 1910, intensifying the discussion of music's acoustical-theoretical bases, and of its broader cultural and metaphysical meanings. While historians of 20th-century music have often marginalized tonal practices, the present volume offers a new perspective on emergent historical continuities. Musicians as diverse as Hindemith, the Beatles, Reich, and Saariaho have approached tonality from many different angles: as a figure of nostalgic longing, or as a universal law; as a quoted artefact of music's sedimented stylistic past, or as a timeless harmonic resource. Essays by 15 leading researchers cover a wide repertoire of concert and pop/rock music composed in Europe and America over the past half-century.

Autoren/Hrsg.

Wörner, Felix

Scheideler, Ullrich

Rupprecht, Philip

Fachgebiete

• Geisteswissenschaften Musikwissenschaft Geschichte der Musik
• Geisteswissenschaften Musikwissenschaft Musikwissenschaft Allgemein Musiktheorie, Musikästhetik, Kompositionslehre

Inhaltsverzeichnis

1;Contents;6
2;Contributors;8
3;Felix Wörner, Ullrich Scheideler, and Philip RupprechtIntroduction;10
4;Concepts and Contexts;26
4.1;Ulrich Mosch:Foundation or Mere Quotation? Conditions for Applyingthe Tonality Concept to Music After 1950;28
4.2;Wolfgang Rathert:Total Tonality or Tonal Totality: A Compositional Issuein Music After 1945;52
4.3;Joseph Auner: The Stopped Clock: Tape Loops, Synthesizers, and the Transfiguration of Harmony;66
4.4;Nicole Biamonte:Pop/Rock Tonalities;90
5;Perspectives of the Mid-Century;104
5.1;Thomas Ahrend:“Das Wunderland”: Tonality and (Political) Topographyin Eisler’s Songs Around 1950;106
5.2;Ullrich Scheideler: Tonality in Henze’s Music of the 1950s and Early 1960s;130
5.3;Felix Meyer:“Everything we love belongs to us”: George Rochberg’s Adoptionof Tonality;154
5.4;Judit Frigyesi:The Macro- and Micro-Lives of Sounds in Morton Feldman’sThe Viola in My Life I;168
6;Processes, Objects, Functions, and Resonances: Directions Since 1970;188
6.1;Keith Potter:Harmonic Progressions as a Gradual Process: Towardsan Understanding of the Development of Tonalityin the Music of Steve Reich;190
6.2;Philip Rupprecht:Tonality Rediscovered: Oliver Knussen and the Musical “Object”in the 1970s;210
6.3;Peter J. Schmelz:Tonality After “New Tonality”: Silvestrov, Schnittke, and Polystylismin the Late USSR;234
6.4;Eric Drott:Saariaho, Timbre, and Tonality;260
6.5;Simone Heilgendorff:Projected Resonance: Tonal Dimensions of Microtonal Compositionin Music by Georg Friedrich Haas;284
6.6;Felix Wörner:Tonality as “Irrationally Functional Harmony”:Thomas Adès’s Piano Quintet;296
6.7;Volker Helbing:“Hungarian Tonality”? György Kurtág’s … rappel des oiseaux …from the Perspective of Albert Simon’s Theory of Tonfelder;314
7;Index;334

Über Autor(innen)

Wörner, Felix
Felix Wo¨rner is a research associate and Lecturer in the Music Department of the University of Basel and serves as co-editor of the Zeitschrift der Gesellschaft fu¨r Musiktheorie.

Scheideler, Ullrich
Ullrich Scheideler is Head of Music Theory at Humboldt-University in Berlin and a former editor of the Arnold Schoenberg Critical Edition.

Rupprecht, Philip
Philip Rupprecht is Professor of Music at Duke University. He is the author of British Musical Modernism: the Manchester Group and their Contemporaries and editor of Rethinking Britten.