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Die Musik in Geschichte Und Gegenwart (MGG)

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Die Musik in Geschichte Und Gegenwart (MGG) Die Musik in Geschichte und Gegenwart (MGG) Allgemeine Enzyklopädie der Musik. Personenteil in 19 Bänden inkl. Registerband und Supplement Bearbeitet von Friedrich Blume, Ludwig Finscher überarbeitet 2003. Buch. CCLIX, 14069 S. Hardcover ISBN 978 3 476 41009 2 Format (B x L): 18,5 x 26,5 cm Gewicht: 42977 g Weitere Fachgebiete > Musik, Darstellende Künste, Film > Musikwissenschaft Allgemein schnell und portofrei erhältlich bei Die Online-Fachbuchhandlung beck-shop.de ist spezialisiert auf Fachbücher, insbesondere Recht, Steuern und Wirtschaft. Im Sortiment finden Sie alle Medien (Bücher, Zeitschriften, CDs, eBooks, etc.) aller Verlage. Ergänzt wird das Programm durch Services wie Neuerscheinungsdienst oder Zusammenstellungen von Büchern zu Sonderpreisen. Der Shop führt mehr als 8 Millionen Produkte. Die Musik in Geschichte und Gegenwart Allgemeine Enzyklopädie der Musik begründet von Friedrich Blume Zweite, neubearbeitete Ausgabe herausgegeben von Ludwig Finscher Leseproben Personenteil Bärenreiter Kassel Basel London New York Prag Metzler Stuttgart Weimar Vorwort Zur Neubearbeitung der mentband (1977) »sizeable essays« genannt hat. Die inhalt- »Musik in Geschichte und Gegenwart« lichen Implikationen lagen darin, daß die Einbettung die- ser Essays in einen lexikalischen, das heißt auf Sachlichkeit, »Die Musik in Geschichte und Gegenwart« oder, wie ihre Präzision und (relative) Dauer angelegten Zusammenhang Benutzer heute zu sagen pflegen, MGG – das Maß, in dem einen sachlich-argumentativen Stil geradezu erzwang, sich eine solche Abkürzung ausbreitet, ist auch ein Maß Polemik und überbordende gedankliche und schriftstelle- für den Erfolg des Werkes – begann 1949 zu erscheinen und rische Subjektivität (soweit menschenmöglich) ausschloß. wurde im Textteil (einschließlich der beiden Supplement- Die großen Personen- und Epochen-Artikel Friedrich Blu- bände) 1979 abgeschlossen; der Registerband, der schon mes haben für diese im präzisen Sinne enzyklopädischen wegen des Fehlens von Verweisstichwörtern im Text not- Essays, mit denen die MGG sich von allen Musiklexika wendig geworden war, folgte 1986. Die Erarbeitung einer unterschied und unterscheidet, den Grundton angeschla- von Grund auf revidierten Neuauflage nach so (relativ) gen, ja sie haben, um noch einmal Paul Henry Lang zu kurzer Zeit bedarf der Begründung, über den Satz hinaus, zitieren, einen »ethical standard« gesetzt. mit dem Friedrich Blume sein Nachwort 1967 abschloß: Gerade durch den besonderen, in der Musikwissenschaft »Etwas muß auch unseren Enkeln und Nachfahren zu tun neuen Anspruch der MGG war ihre Entstehung mühsam, übrigbleiben«. ihre Entstehungszeit ungewöhnlich lang. In dieser langen Die Zeit, in der Karl Vötterle und Friedrich Blume die – beim heutigen Tempo wissenschaftlicher Entwicklungen schon in den letzten Jahren des Zweiten Weltkrieges ent- sogar sehr langen – Zeit von dreißig Jahren hat die MGG wickelte Konzeption der MGG zu verwirklichen begannen, den Stand der Musikwissenschaft, den sie lexikalisch und war einzigartig: die Zeit nach einem Krieg, der – hätte er enzyklopädisch darstellen wollte, selbst beeinflußt, und nur wenig länger gedauert – die Vernichtung der abend- zwar ein einem ganz erheblichen Ausmaß. Sie hat zur ländischen Kultur, wenn nicht der Weltkulturen gebracht Wiederaufnahme des internationalen Gesprächs in der hätte. Eine der ersten Reaktionen, deutlich vor dem wirt- »scientific community« der Musikwissenschaftler minde- schaftlichen Wiederaufbau Europas und der ideologisch- stens ebensoviel beigetragen, wie sie von der fortschreiten- politischen Spaltung, war das gesteigerte Bedürfnis nach den Normalisierung der Kommunikationsverhältnisse Sicherung und Sichtung des Erhaltenen – in der Musikwis- profitiert hat; gerade unter diesem Aspekt kann es als sym- senschaft deutlicher und folgenreicher als in vielen ande- bolisch verstanden werden, daß das Werk in jenem Land ren geisteswissenschaftlichen Disziplinen, wohl deshalb, konzipiert und verwirklicht wurde, das die vorangegan- weil die Musikwissenschaft als akademisch institutionali- gene Katastrophe verschuldet hatte. Die MGG hat aber siertes Fach noch jung, ihre Leistungen in der Quellenar- auch inhaltlich nicht nur den Forschungsstand in allen beit vergleichsweise rudimentär waren. Bereichen des Faches zusammengefaßt, sondern die For- In einer solchen Situation wäre die Konzeption eines schung weitergetrieben – allein durch ihren enzyklopä- Musiklexikons, für das es genügend Modelle gab, voraus- dischen Anspruch, den Zwang, ein umfassendes Bild der sagbar gewesen. Ungewöhnlich war, daß Friedrich Blume Musik »in Geschichte und Gegenwart« zu entwerfen, als der spiritus rector des Unternehmens eine viel weiter Lücken in diesem Bild aufzufinden und zu schließen, reichende Konsequenz aus der Situation zog: die Entwick- vernachlässigte Fragen neu zu stellen, neue, aus der syste- lung nicht eines Lexikons, sondern einer Enzyklopädie, wie matischen Absicht des Ganzen sich ergebende Fragen zu es schon im Geleitwort zur ersten Lieferung 1949 heißt. Der verfolgen. Begriff Enzyklopädie meinte dabei nicht nur die Leitvor- Daß die MGG heute auf ziemlich weite Strecken – und in stellung einer »enzyklopädisch« umfassenden Berücksich- ihren früheren Bänden natürlich stärker als in den jünge- tigung aller Bereiche der Musik und sogar aller mit Musik ren und im Supplement – veraltet ist, ist eine Folge eben sich berührenden Lebensbereiche, sondern auch die Art der dieses Prozesses und seiner langen Dauer: die Entwicklun- Darstellung, die formale und inhaltliche Implikationen gen, die sie selbst in Gang gebracht hat, hat sie nie ganz hatte. Die formalen lagen darin, daß neben die gleichsam einholen können. Die Notwendigkeit einer Neufassung »normale« lexikalische sachlich-konzentrierte und virtuell war spätestens nach dem Erscheinen der Supplementbände vollständige Information die Darstellung größerer thema- offenkundig. Sie wurde auch durch das Erscheinen des tischer Bereiche (Länder, Epochen, Gattungen, systemati- New Grove Dictionary 1980 nicht überflüssig – des bisher sche Sach- und Begriffsfelder) und zentraler Aspekte (Wür- einzigen Musiklexikons, das nach Konzept und Umfang digung großer Komponisten) in Gestalt dessen trat, was vergleichbar zur MGG ist, das aber einerseits sehr viel stär- Paul Henry Lang in seinem Epilogue zum zweiten Supple- ker lexikalisch als enzyklopädisch orientiert und das ande- Vorwort rerseits deutlich auf ein (breiteres wie wissenschaftliches) das Lexikalische programmatisch überschreitenden Artikel angelsächsisches Publikum zugeschnitten ist und sein will über Komponisten, Epochen und Gattungen. Die Tren- – so wie die MGG von Anfang an, bei aller internationalen nung des Werkes in Sach- und Personenteil ermöglicht es, Öffnung und Verflechtung, Akzente gesetzt hat, wie sie der bei Sachbegriffen mit systematisch-objektbezogenen Fra- deutschen Traditionslinie des Faches entsprechen. gestellungen vorzugehen und dabei einen relativ einheitli- Einer Verwirklichung solcher Überlegungen standen chen Wissensstand (1994-1998 erschienen) zu konsultieren, zunächst nicht nur die üblichen wirtschaftlichen und orga- bei personenbezogenen Fragen gezielt nach Detailinforma- nisatorischen Probleme entgegen, sondern wohl auch tionen zu suchen und die musikgeschichtliche Bedeutung Friedrich Blumes – im Nachwort von 1966/67 artikulierte – einer Persönlichkeit im Zusammenhang gewürdigt zu fin- skeptische Ansicht, die MGG sei nicht nur die erste, son- den. Bei den Sachbegriffen wurde ein Verweissystem einge- dern zugleich die letzte Unternehmung ihrer Art gewesen, führt, das entsprechend dem enzyklopädischen Konzept ein letzter Versuch zur Synthese, nach dem das Zeitalter der von Einzelstichworten zu größeren Artikeln leitet. Von Speziallexika im Gefolge der immer weitergreifenden Spe- großem Nutzen sind sicherlich die Registerbände (zum zialisierung im Fach ausbrechen werde. Diese Prognose hat Sachteil und ein Gesamtregister), die die Informations- sich nicht bewahrheitet, im Gegenteil: gerade die außeror- dichte der Texte erst ganz erschließen. dentliche Differenzierung und Spezialisierung des Faches Die folgenden Probeseiten mögen eine Vorstellung von Art in den letzten Jahrzehnten hat einen Drang nach erneuter und Ausmaß der Neubearbeitung geben – in ihrer fertigen (und die weitergehende Spezialisierung weiter begleiten- Gestalt, was den Sachteil betrifft, in vorläufiger und noch der) Zusammenfassung erzeugt, von dem nicht nur der für den Druck zu aktualisierender Form, was den Perso- New Grove, sondern die erstaunliche Zahl kleinerer Lexika nenteil angeht. Das Ziel – gewiß nie ganz zu erreichen, profitiert haben, die seit den Anfängen der MGG erschienen aber als Ziel festzuhalten – bleibt bei alldem dasjenige, sind. Die Neuauflage der MGG will diesem Wunsch nach- welches Friedrich Blume am Beginn seines Vorwortes zum kommen. Sie ist eine vollständige und tiefgreifende Bear- ersten Band der ersten Auflage der MGG 1951 formulierte: beitung des ersten Werkes sowohl was die Stichwortkon- »Die Gesamtheit des musikalischen Wissens zusammen- stellation des Sachteils betrifft, als auch die Auswahl der hängend darzustellen« – jetzt aus der Perspektive nicht Personeneinträge – im Sachteil wie auch im Personenteil mehr der Jahrhundertmitte, sondern des Jahrhundert- mit zahlreichen neuen Stichwörtern, im Sachteil mit einer endes. gänzlichen Neufassung der Artikel in fast allen Fällen. Die Akzente, die zu einem guten Teil das Besondere der Wolfenbüttel, alten MGG ausmachten, werden verstärkt:
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