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Mathias Bielitz Sind Die Denkfiguren Leonin Und Sein Magnus Liber

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Mathias Bielitz Sind Die Denkfiguren Leonin Und Sein Magnus Liber Mathias Bielitz Sind die Denkfiguren Leonin und sein Magnus Liber selbst Denkfiguren? Alle Rechte bei HeiDok 2011 Sind die Denkfiguren Leonin und sein Magnus liber“ ” selbst Denkfiguren? von Mathias Bielitz HeiDok Heidelberg 3. M¨arz 2011 Difficile est satiram non scribere I Zur oral traditionalit¨at der ND-Organa, Neuestes zum uralten Topos 1 Der von v. Uxk¨ ull¨ beschriebene Effekt, daß das Suchbild das Merkbild vernich- tet, die, hier, musikhistorische Wirklichkeit durch das vorgegebene Programm bzw. den vorgegebenen Topos v¨ollig verdeckt wird, daß also die Anpassung an die Forderungen der Mode ein Verstehen der Wirklichkeit nicht mehr zul¨aßt, zeigt exemplarisch die Arbeit von J. Gross, Chanter en polyphonie `aNˆotre Dˆame de Paris aux 12 e et 13 e si`ecles, worin der Autor neben der Zusam- menfassung bekannter Umst¨ande d a s an den mehr als zweistimmigen orga- na untersucht, was man, cum grano salis, als Symmetrien bezeichnen k¨onnte, also Teilwiederholungen, sei es in einer Stimme, sei es durch mehrere Stim- men, also alles, was nicht sozusagen allein durch Befolgung der Kp-Regeln an Stimmfuhrung¨ der Zusatzstimmen entsteht (weil dabei naturlich¨ immer Alter- nativen bestehen, wird man trivialerweise besonders auff¨allige symmetrische“ ” Bildungen heranziehen; es gibt gewisse Freiheitsgrade — und auftretende Dis- sonanzen etc. —, die zeigen, daß manchmal der Wille zur linearen Sinnhaftig- keit auch die kontrapunktischen1 Regeln verletzen konnte bzw. mußte). Den 1Verf. ist sich bewußt, hier keinen zeitgen¨ossischen Begriff zu verwenden; der gemeinte Sachverhalt soll aufgerufen werden durch diesen hier metatheoretisch gebrauchten Aus- druck: Auch die Klangschrittlehre hat stringente Vorschriften, gegen die verstoßen werden kann — z. B. aus dem Grund einer ¨asthetisch besonders markanten Symmetrie“ (das Re- ” den daruber,¨ daß Musik als verlaufende“, naturlich¨ in der Zeit, wo eigentlich sonst, keine ” Symmetrien haben kann, muß sich naturlich¨ auch mit Guidos Bildern vom motus ausein- andersetzen, die k¨onnen, nach Guido, z. B. spiegelbildlich zusammengesetzt werden; ist die geistige Repr¨asentation vielleicht doch auch raumanalog, genau so wie die Linienschrift funktioniert und wie Guido die melodische Form sieht? daß die Erhaltung einer Melodie- form o. ¨a. in der memoria nicht als Zeitablauf geschehen kann, wird schon in einem Text von Augustin erkennbar). 5 Sachverhalt solcher Bildungen entdeckt zu haben, durfte¨ sich Gross kaum vin- dizieren, wie uberhaupt¨ seine Beachtung vorliegender Literatur etwas stark reduktiv ist, typisch fur¨ Musikwissenschaft? Ob hier grunds¨atzliche Neuerungen uber¨ vergleichbare Symmetrien“2, im ” zweistimmigen organum, vor allem in copula-Partien, die bekanntlich schon durch ihren Namen auf Wiederholung verweisen, couple, und naturlich¨ in den Diskantpartien begegnen, vorliegen, l¨aßt den Autor naturlich¨ ebenso unbe- schwert wie die bestehende Literatur genau zu diesem Problem. Vor allem die Verwendung von Zitaten, wie sie in der gesamten unterhaltsamen roma- nischen Lyrik in den Refrains“ gel¨aufig sind, ist hier von Interesse, n¨amlich ” fur¨ die Frage nach Henne und Ei in Bezug auf das Verst¨andnis von Klauseln als Grundlagen von Motetten. Man wird z. B. das Ausrufen“ runder, weicher ” Kuchen durch junge M¨adchen in einer Motette auch als solche Symmetrie“ ” bewerten mussen,¨ die Form der betreffenden Stimme jedenfalls ergibt sich nicht trivial aus dem tenor — auch wenn derartig konsequent tonmalerisch ostinat durchgefuhrte“¨ Zitate in zweistimmigen clausulae nicht erscheinen, ” so ist doch nicht leicht zu sagen, ob entsprechende Zitate nicht auch in clau- sulae erscheinen k¨onnen, was man h¨ochstens dann bemerken kann, wenn in der entsprechenden Motette der Refrain“ textiert erscheint — und dieser ” Refrain“ sich im Verzeichnis wiederfinden l¨aßt. Klar ist aber, daß hier eine ” bewußte kompositorische, im speziellen Fall sogar semantisch eindeutig zitie- ” rende“ Gestaltung vorliegt. Gerade solche symmetrischen“ Stellen erweisen ” sich als besonders individuelle Formungen, denn sie folgen nicht trivial aus der kontrapunktischen Struktur — und sind somit fur¨ jeden Betrachter Zeichen der bewußten Bestimmung der betreffenden musikalischen Gestalt; der Adept der oral tradition-Lehre kann auch das ganz anders sehen: 2 Der Umstand, daß in, wenn auch wenigen, zeitgen¨ossischen theoretischen Tex- ten fur¨ solche Zitate, aber auch verschiedene Manieren“ eine auch in der ” 2Die es ubrigens¨ gelegentlich auch im Choral gibt, reimartige Wiederholungen u. ¨a., aber naturlich¨ meist in weniger penetranter“ Art als in den clausulae. ” 6 Poetik und Rhetorik — wohl d i e Grundlagen-ars des 13. Jh.? — auftretende Bezeichnung zu finden ist, n¨amlich color, ist wie zu erwarten auch hier Grund und Anlaß, sich um die colores rhetorici zu bemuhen,¨ obwohl hier gerade keine spezifischen Zusammenh¨ange zu erkennen sind3; die diesbezuglich¨ skeptische Literatur zu beachten, oder die Frage nach tats¨achlichen M¨oglichkeiten par- alleler Bedeutungen z. B. anhand des Buches von Quadlbauer, zu fragen, f¨allt dem Autor naturlich¨ nicht ein4, die Freude an der Assoziation, uber¨ Musik endlich irgendetwas mehr an Bezuglichem¨ sagen zu k¨onnen, ist verst¨andlich, wenn auch nicht Erkenntnis-schaffend. Schon die entsprechenden Ans¨atze von Johannes Cotto, allerdings kein Franzose, der also auch nicht von couleur spricht, der sich aber wirklich auf die Rhetorik“ bezieht (wie dies, vergleichbar unfruchtbar, auch Aribo tut, ed. ” Smits van Waesberghe, S. 50), erweisen sich als rein formalistische Assoziatio- nen, die die Unm¨oglichkeit inhaltlicher Bezuge¨ geradezu demonstrieren5. Aber, 3Im Zusatz zum Traktat von Johannes de Garlandia, ed. Reimer, S. 95, 10: Color est pulchritudo soni vel obiectum auditus, per quod auditus suscipit placentiam. Et fit multis modis ..., worunter von der Tonrepetition, der Verzierung uberhaupt¨ augehend, so gut wie alles verstanden wird, was irgendwie symmetrische“ Gestaltung aufweist, bis hin zur Ver- ” wendung von refrains, d. h. Zitaten, ed. Reimer, S. 97, 17: Item loco coloris regione cuiuslibet pone cantilenam notam copulam — also wohl eine zweiteilige, symmetrische“ Bildung — ” vel punctum vel descens¯usvel ascens¯usalicuius instrumenti vel clausam lay, vielleicht ja einen Refrain aus einem lay. Statt einer komponierten Symmetrie“ kann man also auch ” eine bekannte Melodie zitieren bzw. einsetzen — auch hier wird erkennbar, daß die mehr- stimmige (Neu-)Komposition von zweistimmigen organa der NˆotreDˆame Mehrstimmigkeit jeweils stellenweise geschehen ist, daß man also Varianten aus kompositorischer Arbeit an vorgegebenen Notierungen von organa eben wie nach W. Busch das Zebra antreffen kann — kompositorische Bearbeitungen bzw. Modernisierungen jedenfalls geschehen regional“: ” Man wird also durchgehend erwarten mussen,¨ daß Varianten jeweils nur regional“ als Er- ” setzungen auftreten; darauf ist unten noch n¨aher einzugehen, weil man so unterhaltsam wie typisch, wieder einmal das Bestehen von Varianten als Beweis“ einer oral tradition-Existenz ” der in auch zeitgen¨ossisch bezeugten libri uberlieferten¨ mehrstimmigen Musik phantasiert. Was die in dem zitierten Text angegebenen Formmerkmale mit Rhetorik zu tun haben darf gefragt werden. 4Vgl. Verf., Die degeneres Introitus Reginos, HeiDok 2007, S. 78 ff. 5Nicht zuf¨allig ist die musikalische Formenlehre von Guido v¨ollig selbst¨andig, ja sozu- sagen dezidiert ohne antikes Vorbild, Johannes Cotto ist gerade hier unf¨ahig, irgendetwas 7 wie sch¨on ist es doch, irgendetwas zu haben, was uber¨ Musik hinauszuweisen scheint, und man kann daruber¨ soviel reden. Das Amusante¨ aber dieser Arbeit liegt nun darin, daß nicht, wie es die explizite Bezeichnung des Zitierens z. B. von Passagen eines Instruments (im oben zitierten unechten“ Anhang zum Text von Johannes de Garlandia zur ” Modalnotation) und anderer solche Symmetrien“ nahelegen mußte,¨ die kom- ” positorische Bedeutung solcher Uberwindung¨ des von cantus firmus und Re- geln des discantus gegebenen kontrapunktischen Gerusts¨ — irgendeine Fol- ge von T¨onen, eine Melodie muß so jeder cantus firmus erzeugen, die Aus- wahlfreiheit ist in der Klangschrittlehre (Sachs) sehr gering — herausgehoben wird. Die Uberwindung¨ sozusagen des Satzgerusts¨ als gestellte kompositori- sche Aufgabe ist hier das Wesentliche. Mehrstimmigkeit erscheint schon hier als sch¨opferische kompositorische Auseinandersetzung zwischen linearer Sinn- haftigkeit und dennoch korrektem mehrstimmigmn Satz — dies wird schon in den zweistimmigen clausulae offenkundig, fur¨ deren Planung man nach An- onymus 4 bekanntlich Papier“ nehmen soll. ” Der Autor bleibt demgebenuber¨ derart gefangen im Dogma“ der oral ” tradition-Lehre, daß er diese Bedeutung nicht mehr sehen kann: Alle solche Symmetrien, alle solche Versuche, aus den gegebenen Gerustm¨ ¨oglichkeiten melodisch sozusagen autonom lineare, melodisch auff¨allige, nicht prosaisch“ ” zuf¨allige Bildungen herauszulesen oder herauszusuchen, stellen fur¨ Gross nur Memorierhilfen dar. Warum dann wohl der Choral, dessen oral Praxis, aber auch Entstehung im Gegensatz zu der der NˆotreDˆame organa unbestritten ist, so deutlich auf solche colores verzichtet? Oder sollte man die Wiederholun- gen im Off. Vir erat als Memorierhilfen ansehen? Oder sind die gesteigerten“ ” Wiederholungen in den beiden Off. Iubilate nur aide m´emoires? Vielleicht ist das endlich auch der Grund fur¨ Formen wie die Sonatensatzform mit einer Reprise? Ganz neue Sichtm¨oglichkeiten? Nur im organum darf das nicht der Neues einzubringen;
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