DOCSLIB.ORG

8425549.PDF (3.718Mb)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
8425549.PDF (3.718Mb) INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced teciinoiogy lias been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting througli an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For illustrations that cannot be satisfactorily reproduced by xerographic means, photographic prints can be purchased at additional cost and inserted into your xerographic copy. These prints are available upon request from the Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases the best available co; y has been filmed. UnK^ersiV MicîOTlms International aoON.Zeeb Road Ann ,‘Vbor, Ml 48106 8425549 Truelove, Nathan M. Stephen KARLHEINZ STOCKHAUSEN’S "KLAVIERSIUCK XI": AN ANALYSIS OF ITS COMPOSITION VIA A MATRIX SYSTEM OF SERIAL POLYPHONY AND THE TRANSLATION OF RHYTHM INTO PITCH The University of Oklahoma D.M.A. 1984 University Microfilms I nternetions! æo N. Zeeb Road, Ann Arbor. Ml 48106 Copyright 1984 by Truelove, Nathan M. Stephen All Rights Reserved PLEASE NOTE: Im all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check mark __ 1. Glossy photographs or pages. 2. Colored illustrations, paper or print ______ 3. Photographs with dark background ______ 4. Illustrations are poor copy _______ 5. Pages with black marks, not original copy. 6. Print shows through as there is text on both sides of page. 7. Indistinct, broken or small print on several pages / 8. Print exceeds margin requirements _______ 9. Tightly bound copy with print lost in spine _______ 10. Computer printout pages with indistinct print. 11. P a g e (s ) _____________lacking when material received, and not available from school or author. 12. P a g e (s ) _____________seem to be missing in numbering only as text follows. 13. Tw o pages n u m b e re d _____________. Text follows. 14. Curling and w rinkled p ag es _______ 15. O ther _______________________________ University Microfilms International THE UNIVERSITY OF OKLAHOMA. GRADUATE COLLEGE KARLHEINZ STOCKHAUSEN'S KLAVIERSTUCK XI: AN ANALYSIS OF ITS COMPOSITION VIA A MATRIX SYSTEM OF SERIAL POLYPHONY AND THE TRANSLATION OF RHYTHM INTO PITCH A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS By N. M. Stephen Truelove Norman, Oklahoma 19 8 4 KARLHEINZ STOCKHAUSEN'S KLAVIERSTUCK XI: AN ANALYSIS OF ITS COMPOSITION VIA A MATRIX SYSTEM OF SERIAL POLYPHONY AND THE TRANSLATION OF RHYTHM INTO PITCH A DOCUMENT APPROVED FOR THE DEPARTMENT OF MUSIC Copyright 1984 by Stephen Truelove 111 TABLE OF CONTENTS Chapter Page I. BACKGROUND AND ORIENTATION .... 1 II. A MATRIX SYSTEM OF SERIAL POLYPHONY....... 8 Introduction. 8 Interrelationships of natrxces. ........... 8 The Construction of the Rhythm Matrices.......T 12 Pitch enrichment processes. 14 Random pitch deletions. 24 Pitch enrichment in conjunc­ tion with switched pitch char­ acteristics between voices. 32 Suspensions ......... 35 Durations shortened by the inclusion of rests. ..... 41 Fermati as organizers of rhy­ thmic texture ..............48 Duration-Groups ............... 49 Aspects relating to Klavier- stuck XI. ................ 60 Written instructions below the Final Rhythm Matrix . 61 Serial ordering of all dur­ ations in the Final Rhythm Matrix. ..... ............ 63 The Construction of Fragment # 1 7 ................................64 The Construction of the Final Element Matrix.....................88 The 19 Fragments of Klavier- stuck XI............. 96 Summary ...... ............ 101 III. THE TRANSLATION OF RHYTHM INTO PITCH................................. 103 IV P a g e APPENDIX I............... 147 BIBLIOGRAPHY................................... 156 APPENDIX I I .................. (bound separately) ACKNOWLEDGEMENTS The author would like to acknowledge several people who assisted in the formation of this document/ which was done in connection with graduate study at the University of Oklahoma. Dr. Digby Bell suggested an analysis of Stock­ hausen's Klavierstuck XI and provided invaluable assistance in editing three drafts of the resulting D.M .A. document. Dr. Todd Welbourne/ Professor Michael Hennagin/ and Professor Lois Gauger also provided excellent suggestions and encour­ agement. Dr. Eugene Enrico/ in addition to providing excel­ lent standards for both academic research and musical anal­ ysis / also assisted— along with Dr. Kenneth L. Moving/ Dean of the Graduate College— in the procurement of an Oklahoma University Associates Graduate Study Grant which enabled the author to travel to Europe for research and study with Stock­ hausen. Dr. Peter F. Bruekner/ Chairman of Modern Languages and Literatures/ and the German pianist Herbert Henck gra­ ciously assisted in translating the verbal text contained within Stockhausen's sketches for Klavierstuck XI. Roy Gimpel and Dr. Richard V. Andree provided confirmation and descrip­ tion of the author's mathematical analysis relative to this study. vi The author wishes to anknowledge Karlheinz Stockhausen•s generosity in providing the original manu­ script and sketches for Klavierstuck XI/ access to his personal archive# and use of the photo-copy machine in his home. Study and travel with Stockhausen# at his personal invitation, during the 1980 European tour with Ensemble InterContemporain was extremely beneficial; further study at his home after the tour and a continuing correspondence have provided additional insights and inspiration. Vll KARLHEINZ STOCKHAUSEN'S KLAVIERSTUCK XI: AN ANALYSIS OF ITS COMPOSITION VIA A MATRIX SYSTEM OF SERIAL POLYPHONY AND THE TRANSLATION OF RHYTHM INTO PITCH CHAPTER I BACKGROUND AND ORIENTATION The musical stature of Karlheinz Stockhausen is exem­ plary both in the quantity and quality of his activities as a composer, conductor, performer, theoretician, teacher and pub­ lisher of music. At the age of fifty-five Stockhausen has completed eighty major works for various ensembles, so­ loists, electronic media, and combinations of live performers and electronic media. His symphonic works, which place him in the mainstream of major symphonists since Mahler, include: Jubilaum (1977), Inori (1973/74), Ylem (1972), Trans (1971), Stop (1965), Mixtur (1964), Gruppen (1955/57), Spiel (1952), Punkte (1952/62), and Formel (1951). His music for solo in­ struments, aside from those scores which do not designate the instrument (Plus Minus, Solo, and Spiral), constitutes an en­ richment of both piano and clarinet repertoire. Harlekin (1975) and The Little Harlekin (1975), both for solo clarinet, incor­ porate dance and a form of mime into the musical structure. Stockhausen was born in Modrath, Germany, on August 22, 1928. He attended primary school at Altenberg, and at the age of ten was enrolled in an Oberschule in Burscheid, where he stayed until the age of twelve. From 1941 to October# 1944 Stockhausen attended a Teacher Training College at Xanten. After entering the Grammar School for the Humanities at Bergisch Gladbach in February# 1946# Stockhausen graduated in March# 1947. That same year he began his studies at the State Academy of Music in Cologne# and also studied philosophy# musicology and German at Cologne University. After graduation from the State Academy of Music in 1951# Stockhausen attended the Darmstadt New Music Courses. His subsequent association with Darmstadt International Vacation Courses for New Music# as they are now called# has become legendary. During the years 1952/1953 Stockhausen studied with the French composer Olivier Messiaen at the Paris Conservatoire of Music. Stockhausen's last formal university studies were communications and phonetics at Bonn University from 1954 to 1956 with Dr. Werner Meyer-Eppler. Stockhausen's pianistic studies began at the age of six while living in Altenberg# his first teacher being a church organist. Stockhausen continued to study piano throughout his formal education# finally participating in Hans Otto Schmidt- Neuhaus's piano class in the Cologne Musikhochschule. At Xanten Stockhausen expanded his musical activities to include violin
Load more

Recommended publications
  • Contact: a Journal for Contemporary Music (1971-1988) Citation
    Contact: A Journal for Contemporary Music (1971-1988) http://contactjournal.gold.ac.uk Citation Waugh, Jane and Waugh, W. A. O’N. 1977. ‘Die Reihe in Perspective’. Contact, 16. pp. 3-7. ISSN 0308-5066. ! [[] JANE ANDW.A.O'N. WAUGH 16 Die Reihe in Perspective IN 1955 A PERIODICAL, Die Reihe, was launched under the editorship ofHerbert Eimert and Karlheinz Stockhausen. Both editors were associated with the Cologne Electronic Music Studio, and the first number was devoted to electronic music. Seven more issues followed: 2. Anton Webern, 3. Musikalisches Handwerk ('Musical Craftsmanship'), 4. lunge Komponisten ('Young Composers'), 5. Berichte, Analysen ('Reports, Analyses'), 6. Sprach und Musik ('Speech and Music'), 7. Form-Raum ('Form-Space'), 8. Riickblicke ('Retrospective'). The finality suggested by the title of No. 8 was appropriate, since with that number ( 1962) publication ceased. Die Reihe was, however, no ordinary periodical. It aimed at definitive statements and at studies that were both extensive and deep (see for example No. 2, devoted to Anton Webern). It was translated, and published in English (No. 1, 1957, to No. 8, 1968): Universal Edition, who in 1968 took over the copyright to the second, revised edition still have it in print. Such a history of a short-lived periodical demands consideration of its contents as they were seen in the context of the early 1960s, as they are to be seen now and of the changes in the surrounding circumstances between then and now. Die Reihe started several years earlier tha.n its American counterpart Perspectives ofNew Music, which has lived longer; both are highly technical in subject-matter, vocabulary and spirit.
    [Show full text]
  • 2008 Performances Update
    Stock hau sen Aufführungen / Per for manc es 2021 Sunday, May. 16th , 2 pm Altenberg | Altenberger Dom (Information: http://www.altenberger- dommusik.de/kontakt/ tickets: +49 2174/419930 ) Stockhausen – Beethoven (Mass in C) EINGANG und FORMEL (ENTRY and FORMULA) for trumpet DRACHENKAMPF (DRAGON FIGHT) for trumpet and trombone MICHAELs RUF (MICHAELs CALL) for 4 trumpets OBERLIPPENTANZ (UPPER-LIP-DANCE) for piccolo trumpet MICHAELs ABSCHIED (MICHAELs FAREWELL) for 5 trumpets Friday, June 4th , 7:30pm Cologne | rheinEnergieSTADION (Information: www.achtbruecken.de) STERNKLANG (STAR SOUND) Park Music for 5 groups July 17th to July 25th: Stockhausen Concerts and Courses 2021 (Information: Stockhausen-Stiftung für Musik / Stockhausen Foundation for Music , 51515 Kuerten, Germany; e-mail:[email protected]) 9 public concerts , Suelztalhalle, Kuerten Saturday, July 17 th , 5 p.m. Festive opening of the courses at the Karlheinz-Stockhausen-Platz . MICHAEL’S CALL for 4 trumpets will open and close the ceremony Saturday, July 17 th , 8 p.m. , Sülztalhalle SIRIUS (Summer Version ) Electronic music and trumpet, soprano, bass clarinet, bass Sunday, July 18 th , 8 p.m., Sülztalhalle SIRIUS (Summer Version ) Electronic music and trumpet, soprano, bass clarinet, bass Monday, July 19 th , 8 p.m., Sülztalhalle HYMNEN / ANTHEMS Electronic and Concrete music Tuesday, July 20 th , 8 p.m., Sülztalhalle PIANO PIECES VII, VIII, IX ZYKLUS / CYCLE for a percussionist REFRAIN for 3 players * KONTAKTE / CONTACTS für electronic sounds, piano and percussion
    [Show full text]
  • Stockhausen's Cosmic Pulses
    Robin Maconie: Stockhausen’s Cosmic Pulses 2009–14 (copyright) 1 Stockhausen’s Cosmic Pulses ROBIN MACONIE Some people chase tornados; others go after black holes. From the late 1950s Stockhausen was fascinated by the idea of sounds in rotation and how to realise them in a technical sense, by means of an array of loudspeakers. Completed in 2007, Cosmic Pulses is Stockhausen’s final electronic composition.1 For a number of reasons I believe the composer knew it would be his last. The work was completed in a rush. In many ways, notably in terms of the sound material, which is very basic, it remains a sketch. The music can be described as a massive rotating sound mass, composed in 24 separately spinning frequency layers. The work thickens gradually to 24 layers, then reduces symmetrically upward in an ascending spiral that ends quite abruptly. An audience may experience the sensation of falling headlong into a black hole, or, if one is an optimist, of being carried aloft on the whirlwind like Dorothy in The Wizard of Oz. A tornado is an effect of a natural imbalance between temperature layers in the atmosphere, tipped into motion by the earth’s rotation, which moves progressively faster toward the equator. The rotating air mass that results spirals upwards and generates a powerful electrical charge. A black hole by comparison is an effect of gravitation creating an imbalance in spacetime. The rotational process that results spirals downward or inward and leads to the extinction of reality as we know it, or again, if one is an optimist, creates a wormhole leading either into another universe, or into our own universe at Robin Maconie: Stockhausen’s Cosmic Pulses 2009–14 (copyright) 2 another point in time.
    [Show full text]
  • Karlheinz Stockhausen: Works for Ensemble English
    composed 137 works for ensemble (2 players or more) from 1950 to 2007. SCORES , compact discs, books , posters, videos, music boxes may be ordered directly from the Stockhausen-Verlag . A complete list of Stockhausen ’s works and CDs is available free of charge from the Stockhausen-Verlag , Kettenberg 15, 51515 Kürten, Germany (Fax: +49 [0 ] 2268-1813; e-mail [email protected]) www.stockhausen.org Karlheinz Stockhausen Works for ensemble (2 players or more) (Among these works for more than 18 players which are usu al ly not per formed by orches tras, but rath er by cham ber ensem bles such as the Lon don Sin fo niet ta , the Ensem ble Inter con tem po rain , the Asko Ensem ble , or Ensem ble Mod ern .) All works which were composed until 1969 (work numbers ¿ to 29) are pub lished by Uni ver sal Edi tion in Vien na, with the excep tion of ETUDE, Elec tron ic STUD IES I and II, GESANG DER JÜNGLINGE , KON TAKTE, MOMENTE, and HYM NEN , which are pub lished since 1993 by the Stock hau sen -Ver lag , and the renewed compositions 3x REFRAIN 2000, MIXTURE 2003, STOP and START. Start ing with work num ber 30, all com po si tions are pub lished by the Stock hau sen -Ver lag , Ket ten berg 15, 51515 Kürten, Ger ma ny, and may be ordered di rect ly. [9 ’21”] = dura tion of 9 min utes and 21 sec onds (dura tions with min utes and sec onds: CD dura tions of the Com plete Edi tion ).
    [Show full text]
  • Stockhausen Works for Orchestra
    composed 37 works for orchestra from 1950 to 2007. SCORES , compact discs, books , posters, videos, music boxes may be ordered directly from the Stockhausen-Verlag . A complete list of Stockhausen ’s works and CDs is available free of charge from the Stockhausen-Verlag , Kettenberg 15, 51515 Kürten, Germany (Fax: +49 [0]2268-1813; e-mail [email protected]) www.stockhausen.org Duration Publisher CD of the Stockhausen Complete Edition 1950 DREI LIEDER (THRE E SONGS [19 ’26”] U.E. e1 for alto voice and chamber orchestra ( cond. )(Universal Edition ) (fl. / 2 cl. / bsn. / tp. / trb. / 2 perc. / piano / elec. harpsichord / strings) 1951 FORMEL (FORMULA) [12 ’57”] U. E e2 for orchestra [28 players] ( cond. ) 1952 SPIEL (PLAY) [16 ’01”] U. E. e2 for orchestra ( cond. ) 195 2/ PUNKTE (POINTS) [ca. 27 ’] U. E. e2 E81‰ 1962 / 1993 for orchestra ( cond. ) 195 2 KONTRA-PUNKTE (COUNTER-POINTS) [14 ’13”] U. E. e4 to 53 for 10 instruments ( cond. ) (fl. / cl. / bass cl. / bsn. / tp. / trb. / piano / harp / vl. / vc.) 195 5 GRUPPEN (GROUPS) [24 ’25”] U. E. e5 to 57 for 3 orchestras ( 3 cond. ) 195 9 CARRÉ [ca. 36’] U. E. e5 to 60 for 4 orchestras and 4 choirs ( 4 cond. ) 196 2 MOMENTE (MOMENTS) [113’] St. e7 E80‰ to 64 for solo soprano, 4 choir groups (Stockhausen-Verlag ) (finished in ’69) and 13 instrumentalists ( cond. ) 1964 MIXTUR (MIXTURE) [ca. 2 x 27’] U. E for orchestra, 4 sine-wave generators and 4 ring modulators ( cond. ) 1964 / MIXTUR (MIXTURE) [2 x 27’] U. E. e8 1967 for small orchestra (cond.
    [Show full text]
  • Stockhausen Concerts and Classes for Clarinettists and Others. Clarinettists Have Reason to Be Very Happy with the Development
    Stockhausen concerts and classes for clarinettists and others. Clarinettists have reason to be very happy with the development of their repertoire in de 20th century, as it had a previously unseen growth. One of the main figures of post war new music has been Karlheinz Stockhausen (1928-2007). This often controversial composer has enriched clarinet literature with an unprecedented number of works for clarinet, bassethorn and bass clarinet, especially after 1974. These sometimes demanding pieces, often with theatrical elements, require a specific approach and way of playing, easily underestimated. Stockhausen was well aware of this and started coaching a new generation of players in the 1980’s, in order to pass this tradition of interpretation on to others. In spite of Stockhausen’s compositions having the reputation of being difficult and intellectual (if not quasi-religious), to play, watch and listen to them is generally great fun, and very satisfying to work on - if done well. Because the music calls on many apects of performing (e.g. fysical and mental attitude on stage, memory, presentation, awareness of the structure of the music, disciplin) the leaning process has a beneficial influence on performing traditional music too. This series of concerts and courses offers the possibility to watch, listen, study and rehearse a number of Stockhausen’s works with Michel Marang, a clarinettist who worked with the composer since 1986 and performed his music hundreds of times worldwide. The course can have the character of an introductory lecture and concert, but eventually may result in seminars over a longer stretch of time, as much as needed to bring specific works on concert level.
    [Show full text]
  • <I>Manifestations</I>: a Fixed Media Microtonal Octet
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2017 Manifestations: A fixed media microtonal octet Sky Dering Van Duuren University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Composition Commons Recommended Citation Van Duuren, Sky Dering, "Manifestations: A fixed media microtonal octet. " Master's Thesis, University of Tennessee, 2017. https://trace.tennessee.edu/utk_gradthes/4908 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Sky Dering Van Duuren entitled "Manifestations: A fixed media microtonal octet." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Andrew L. Sigler, Major Professor We have read this thesis and recommend its acceptance: Barbara Murphy, Jorge Variego Accepted for the Council: Dixie L. Thompson Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) Manifestations A fixed media microtonal octet A Thesis Presented for the Master of Music Degree The University of Tennessee, Knoxville Skylar Dering van Duuren August 2017 Copyright © 2017 by Skylar van Duuren.
    [Show full text]
  • Ulrich Buch Engl. Ulrich Buch Englisch
    Stockhausen-Stiftung für Musik First edition 2012 Published by Stockhausen-Stiftung für Musik 51515 Kürten, Germany (Fax +49-[0] 2268-1813) www.stockhausen-verlag.com All rights reserved. Copying prohibited by law. O c Copyright Stockhausen-Stiftung für Musik 2012 Translation: Jayne Obst Layout: Kathinka Pasveer ISBN: 978-3-9815317-0-1 STOCKHAUSEN A THEOLOGICAL INTERPRETATION BY THOMAS ULRICH Stockhausen-Stiftung für Musik 2012 TABLE OF CONTENTS Preliminary Remark .................................................................................................. VII Preface: Music and Religion ................................................................................. VII I. Metaphysical Theology of Order ................................................................. 3 1. Historical Situation ....................................................................................... 3 2. What is Music? ............................................................................................. 5 3. The Order of Tones and its Theological Roots ............................................ 7 4. The Artistic Application of Stockhausen’s Metaphysical Theology in Early Serialism .................................................. 14 5. Effects of Metaphysical Theology on the Young Stockhausen ................... 22 a. A Non-Historical Concept of Time ........................................................... 22 b. Domination Thinking ................................................................................ 23 c. Progressive Thinking
    [Show full text]
  • A Symphonic Poem on Dante's Inferno and a Study on Karlheinz Stockhausen and His Effect on the Trumpet
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2008 A Symphonic Poem on Dante's Inferno and a study on Karlheinz Stockhausen and his effect on the trumpet Michael Joseph Berthelot Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Berthelot, Michael Joseph, "A Symphonic Poem on Dante's Inferno and a study on Karlheinz Stockhausen and his effect on the trumpet" (2008). LSU Doctoral Dissertations. 3187. https://digitalcommons.lsu.edu/gradschool_dissertations/3187 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A SYMPHONIC POEM ON DANTE’S INFERNO AND A STUDY ON KARLHEINZ STOCKHAUSEN AND HIS EFFECT ON THE TRUMPET A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agriculture and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by Michael J Berthelot B.M., Louisiana State University, 2000 M.M., Louisiana State University, 2006 December 2008 Jackie ii ACKNOWLEDGEMENTS I would like to thank Dinos Constantinides most of all, because it was his constant support that made this dissertation possible. His patience in guiding me through this entire process was remarkable. It was Dr. Constantinides that taught great things to me about composition, music, and life.
    [Show full text]
  • Sprechen Über Neue Musik
    Sprechen über Neue Musik Eine Analyse der Sekundärliteratur und Komponistenkommentare zu Pierre Boulez’ Le Marteau sans maître (1954), Karlheinz Stockhausens Gesang der Jünglinge (1956) und György Ligetis Atmosphères (1961) Dissertation zur Erlangung des Doktorgrades der Philosophie (Dr. phil.) vorgelegt der Philosophischen Fakultät II der Martin-Luther-Universität Halle-Wittenberg, Institut für Musik, Abteilung Musikwissenschaft von Julia Heimerdinger ∗∗∗ Datum der Verteidigung 4. Juli 2013 Gutachter: Prof. Dr. Wolfgang Auhagen Prof. Dr. Wolfgang Hirschmann I Inhalt 1. Einleitung 1 2. Untersuchungsgegenstand und Methode 10 2.1. Textkorpora 10 2.2. Methode 12 2.2.1. Problemstellung und das Programm MAXQDA 12 2.2.2. Die Variablentabelle und die Liste der Codes 15 2.2.3. Auswertung: Analysefunktionen und Visual Tools 32 3. Pierre Boulez: Le Marteau sans maître (1954) 35 3.1. „Das Glück einer irrationalen Dimension“. Pierre Boulez’ Werkkommentare 35 3.2. Die Rätsel des Marteau sans maître 47 3.2.1. Die auffällige Sprache zu Le Marteau sans maître 58 3.2.2. Wahrnehmung und Interpretation 68 4. Karlheinz Stockhausen: Gesang der Jünglinge (elektronische Musik) (1955-1956) 85 4.1. Kontinuum. Stockhausens Werkkommentare 85 4.2. Kontinuum? Gesang der Jünglinge 95 4.2.1. Die auffällige Sprache zum Gesang der Jünglinge 101 4.2.2. Wahrnehmung und Interpretation 109 5. György Ligeti: Atmosphères (1961) 123 5.1. Von der musikalischen Vorstellung zum musikalischen Schein. Ligetis Werkkommentare 123 5.1.2. Ligetis auffällige Sprache 129 5.1.3. Wahrnehmung und Interpretation 134 5.2. Die große Vorstellung. Atmosphères 143 5.2.2. Die auffällige Sprache zu Atmosphères 155 5.2.3.
    [Show full text]
  • The Study of the Relationship Between Arnold Schoenberg and Wassily
    THE STUDY OF THE RELATIONSHIP BETWEEN ARNOLD SCHOENBERG AND WASSILY KANDINSKY DURING SCHOENBERG’S EXPRESSIONIST PERIOD D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Sohee Kim, B.M., M.M. Graduate Program in Music The Ohio State University 2010 D.M.A. Document Committee: Professor Donald Harris, Advisor Professor Jan Radzynski Professor Arved Mark Ashby Copyright by Sohee Kim 2010 ABSTRACT Expressionism was a radical form of art at the start of twentieth century, totally different from previous norms of artistic expression. It is related to extremely emotional states of mind such as distress, agony, and anxiety. One of the most characteristic aspects of expressionism is the destruction of artistic boundaries in the arts. The expressionists approach the unified artistic entity with a point of view to influence the human subconscious. At that time, the expressionists were active in many arts. In this context, Wassily Kandinsky had a strong influence on Arnold Schoenberg. Schoenberg‟s attention to expressionism in music is related to personal tragedies such as his marital crisis. Schoenberg solved the issues of extremely emotional content with atonality, and devoted himself to painting works such as „Visions‟ that show his anger and uneasiness. He focused on the expression of psychological depth related to Unconscious. Both Schoenberg and Kandinsky gained their most significant artistic development almost at the same time while struggling to find their own voices, that is, their inner necessity, within an indifferent social environment. Both men were also profound theorists who liked to explore all kinds of possibilities and approached human consciousness to find their visions from the inner world.
    [Show full text]
  • The Computational Attitude in Music Theory
    The Computational Attitude in Music Theory Eamonn Bell Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2019 © 2019 Eamonn Bell All rights reserved ABSTRACT The Computational Attitude in Music Theory Eamonn Bell Music studies’s turn to computation during the twentieth century has engendered particular habits of thought about music, habits that remain in operation long after the music scholar has stepped away from the computer. The computational attitude is a way of thinking about music that is learned at the computer but can be applied away from it. It may be manifest in actual computer use, or in invocations of computationalism, a theory of mind whose influence on twentieth-century music theory is palpable. It may also be manifest in more informal discussions about music, which make liberal use of computational metaphors. In Chapter 1, I describe this attitude, the stakes for considering the computer as one of its instruments, and the kinds of historical sources and methodologies we might draw on to chart its ascendance. The remainder of this dissertation considers distinct and varied cases from the mid-twentieth century in which computers or computationalist musical ideas were used to pursue new musical objects, to quantify and classify musical scores as data, and to instantiate a generally music-structuralist mode of analysis. I present an account of the decades-long effort to prepare an exhaustive and accurate catalog of the all-interval twelve-tone series (Chapter 2). This problem was first posed in the 1920s but was not solved until 1959, when the composer Hanns Jelinek collaborated with the computer engineer Heinz Zemanek to jointly develop and run a computer program.
    [Show full text]