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ZGMTH Gesellschaft Für Musiktheorie Zeitschrift der ZGMTH Gesellschaft für Musiktheorie 17. Jahrgang 2020 Ausgabe 1 Musiktheorie und Gender Studies Herausgegeben von Cosima Linke, Ariane Jeßulat, Christian Utz ZGMTH Zeitschrift der Gesellschaft für Musiktheorie https://doi.org/10.31751/zgmth Wissenschaftlicher Beirat der Gesellschaft für Musiktheorie: Jean-Michel Bardez (Paris), Thomas Christensen (Chicago), Nicholas Cook (Cambridge), Jonathan Cross (Oxford), Hermann Danuser (Berlin), Helga de la Motte-Haber (Berlin), Hartmut Fladt (Berlin), Inga Mai Groote (Zürich), Thomas Kabisch (Trossingen), Clemens Kühn (Dresden), Nicolas Meeùs (Paris), Alexander Rehding (Cambridge, MA), Christian Martin Schmidt (Berlin), Michiel Schuijer (Amsterdam) 17. Jahrgang 2020, Ausgabe 1 https://doi.org/10.31751/i.49 Herausgeber: Prof. Hans Aerts, Höchtestraße 7/3, 79350 Sexau, [email protected] Prof. Dr. Florian Edler, Holbeinstraße 14, 28209 Bremen, [email protected] Prof. Dr. Ariane Jeßulat, Alt-Friedrichsfelde 126, 10315 Berlin, [email protected] Dr. Cosima Linke, Körnerstr. 3, 76135 Karlsruhe, [email protected] Dr. Ullrich Scheideler, Müllerstraße 150, 13353 Berlin, [email protected] Univ.-Prof. Dr. Christian Utz, Schottenfeldgasse 34/19, A-1070 Wien, [email protected] verantwortliche Herausgeber dieser Ausgabe: Cosima Linke, Ariane Jeßulat, Christian Utz Redaktion / Lektorat / Korrektorat: Matthew Franke, Tim Martin Hoffmann Die Herausgeber sind per E-Mail erreichbar unter: [email protected] PDF-Layout: Poli Quintana / Oliver Schwab-Felisch; Dieter Kleinrath PDF-Satz: Dieter Kleinrath Notensatz und Grafik: Werner Eickhoff-Maschitzki Publikationsrichtlinien: https://www.gmth.de/publikationsrichtlinien.aspx Publication Guidelines: https://www.gmth.de/publication_guidelines.aspx Die ZGMTH ist im Directory of Open Access Journals (DOAJ) verzeichnet. https://doaj.org/toc/1862-6742 Die ZGMTH ist Mitglied von CrossRef. https://www.crossref.org Die Deutsche Bibliothek verzeichnet die ZGMTH in der Deutschen Nationalbibliografie. http://d-nb.info/98030945X © 2020 Max Alt, Juliane Brandes, José Gálvez, Ariane Jeßulat, Janina Klassen, Irene Kletschke, Cosima Linke, Judy Lochhead, Fred Everett Maus, Nina Noeske, Tom Rojo Poller, Kirsten Reese, Marc Rigaudière, Gesine Schröder, Danielle Sofer, Kilian Sprau, Christian Utz, Thomas Wozonig Diese Ausgabe erscheint im Open Access und ist lizenziert unter einer Creative Commons Namensnennung 4.0 International Lizenz. This is an open access journal issue licensed under a Creative Commons Attribution 4.0 International License. https://creativecommons.org/licenses/by/4.0 ISSN 1862-6742 Inhalt 17. JAHRGANG 2020, AUSGABE 1 EDITORIAL .................................................................................................................. 5 MUSIKTHEORIE UND GENDER STUDIES JUDY LOCHHEAD Music’s Vibratory Enchantments and Epistemic Injustices. Reflecting on Thirty Years of Feminist Thought in Music Theory ............................. 15 DANIELLE SOFER Specters of Sex. Tracing the Tools and Techniques of Contemporary Music Analysis ............................................................................ 31 FRED EVERETT MAUS Defensive Discourse in Writing about Music .......................................................... 65 NINA NOESKE Analyse des Werturteils – Analysen, wer urteilt? ›Qualität‹ und Qualitätsmaßstäbe in der Musikforschung ....................................... 81 JANINA KLASSEN Genie oder kein Genie, ist nicht die Frage. Perspektiven auf Clara Wieck Schumanns Kompetenzerwerb ................................. 103 THOMAS WOZONIG Gender, Schaffensprozess und musikalische Analyse. Clara Schumanns Drei gemischte Chöre (1848) ...................................................... 117 KLEINERE BEITRÄGE IRENE KLETSCHKE, KIRSTEN REESE Genderverteilung der Lehrenden in den Fächern Komposition, Elektroakustische Komposition und Musiktheorie an deutschen Hochschulen. Eine statistische Recherche ..................................................................................... 147 REZENSIONEN MARC RIGAUDIÈRE Thomas Christensen, Stories of Tonality in the Age of François-Joseph Fétis, Chicago: University of Chicago Press 2019 ............................................................ 155 JULIANE BRANDES Felix Diergarten / Markus Neuwirth, Formenlehre. Ein Lese- und Arbeitsbuch zur Instrumentalmusik des 18. und 19. Jahrhunderts, Laaber: Laaber 2019 ............. 167 GESINE SCHRÖDER Hermann Danuser, Metamusik, Schliengen: Edition Argus 2017 ............................ 177 KILIAN SPRAU L. J. Müller, Sound und Sexismus. Geschlecht im Klang populärer Musik. Eine feministisch-musiktheoretische Annäherung, Hamburg: Marta Press 2018 ....... 185 MAX ALT, JOSÉ GÁLVEZ Ciro Scotto / Kenneth Smith / John Brackett (Hg.), The Routledge Companion to Popular Music Analysis. Expanding Approaches, New York: Routledge 2019 ......... 193 TOM ROJO POLLER Werner Grünzweig, Wie entsteht dabei Musik? Gespräche mit sechs Komponisten und einer Komponistin über ihre Studienzeit, Neumünster: von Bockel 2019 ......... 207 Editorial Musikbezogene Genderforschung bzw. Gender Studies sind in der deutschsprachigen Musikwissenschaft längst ein anerkannter und vielfältig ausdifferenzierter Fachdiskurs mit eigenen Publikationsorganen wie dem seit 2008 erscheinendenJahrbuch Musik und Gender 1 und dem 2010 veröffentlichten Lexikon Musik und Gender 2 sowie institutionel- ler Verankerung durch entsprechend ausgerichtete Stellen- und Studiengangsprofile, wis- senschaftliche Einrichtungen und Forschungszentren.3 In der deutschsprachigen Musik- theorie hingegen gibt es weder einen breiteren Fachdiskurs noch überhaupt einen a-ak demischen ›Ort‹ für musikbezogene Genderforschung, auch wenn genderbezogene Themen und Perspektiven zweifellos in musiktheoretische Felder ausstrahlen. Dies gilt vor allem für die Geschichte der Musiktheorie und der musikalischen Analyse. Hinläng- lich bekannt ist etwa, dass sich historische Genderkonstruktionen und -zuschreibungen in musiktheoretischen Fachbegriffen und Kategorien widerspiegeln wie die normativen ›männlichen‹ (auch: ›starken‹) gegenüber den davon abgeleiteten ›weiblichen‹ (auch: ›schwachen‹) Schlussformeln bzw. Kadenzen,4 die mit ›männlichen‹ respektive ›weibli- chen‹ Eigenschaften assoziierten Tonarten bzw. ›Tongeschlechter‹ (!) Dur und Moll,5 oder entsprechend genderkonnotierte Themencharakterisierungen klassischer Sonaten- formen etwa bei Adolph Bernhard Marx. Allerdings steht bei Marx weniger die Idee der Ableitung als die der komplementären Ergänzung von Hauptund- Seitensatz im Sinne des ästhetischen Ideals einer Einheit in der Mannigfaltigkeit im Vordergrund.6 Diese Thematik hat bereits Susan McClary im Zuge der Neuorientierung derNew bzw. Critical Musicology in ihren hermeneutisch-narratologischen Analysen auch von ›absoluter‹n- I strumentalmusik ins Bewusstsein gerufen,7 und sie wird seither in der musikbezogenen Genderforschung zum Teil kontrovers bezüglich ihrer musikanalytischen - Tragund 8 Reichweite diskutiert. 1 Herausgegeben von der »Fachgruppe Frauen- und Genderstudien« der Gesellschaft für Musikforschung, die bis 2003 den Namen »Fachgruppe Frauen- und Geschlechterforschung« trug und 1994 ins Leben gerufen wurde. 2 Kreutzinger-Herr/Unseld 2010. 3 Etwa das 2001 gegründeteSophie Drinker Institut für musikwissenschaftliche Frauen- und Geschlechterfor- schung (https://www.sophie-drinker-institut.de, 14.5.2020), das 2006 gegründeteForschungszentrum Musik und Gender an der Hochschule für Musik, Theater und Medien Hannover (https://www.fmg.hmtm- hannover.de/de/das-fmg, 14.5.2020) und das seit 2009 bestehendeZentrum für Genderforschung an der Kunstuniversität Graz (https://genderforschung.kug.ac.at/zentrum-fuer-genderforschung.html, 14.5.2020). 4 So spricht etwa Heinrich Christoph Koch von »weiblichem Ausgang« in Bezug auf den rhythmischen »Überhang«, also die melodische Verzierung von Zäsuren (Koch 2007, § 95, 376–380). 5 Vgl. Riepel 1755, 33 sowie: »Eine weibliche Tonart hat ihre Wesenheit von der männlichen her, und für sich selbst gar keine Leiter.« (Ebd., 121) 6 Vgl. Marx 1845, 272 f. Zur Auseinandersetzung mit genderkonnotierten Aspekten klassischer Sonaten- formen vgl. Burnham 1996 und Citron 2000. Die genderkonnotierte Themencharakterisierung hat sich laut Huber (2011, 37 f.) erst im Laufe der Marx-Rezeption zu einer starren Opposition verfestigt. 7 McClary 1991; McClary 2007. 8 Siehe für eine deutschsprachige Auseinandersetzung mit McClarys Ansatz exemplarisch Knaus 2002 und Gerards 2005 sowie zum Verhältnis von Genderforschung und musikalischer Analyse allgemein Knaus 2010 und Huber 2011. ZGMTH 17/1 (2020) 5 COSIMA LINKE, ARIANE JEßULAT, CHRISTIAN UTZ Angesichts eines noch weitgehend fehlenden Fachdiskurses musiktheoretischer Gen- derforschung im deutschsprachigen Raum versucht das vorliegende Themenheft, diesem fundamentalen Desiderat zu begegnen und eine erste Grundlegung für einen solchen Fachdiskurs zu schaffen. Dabei ist eine Orientierung am interdisziplinären und interna- tionalen Diskursfeld musikbezogener Gender Studies und dessen Verbindung mit musik- theoretischen Themen notwendig, mit dem Ziel einer wechselseitigen Befruchtung und Bereicherung der Forschungsfragen, Gegenstände und Methoden. Von Anfang an war es daher ein wichtiges Ziel, Beiträge sowohl von deutsch-als auch von englischsprachigen Autor*innen in diese Ausgabe aufzunehmen, um so die unterschiedlichen Fachdiskurse und deren akademische Einbettung zu thematisieren und Möglichkeiten der Vernetzung aufzuzeigen.
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