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- W2604782103 abstract "The tension between a realtime-oriented conception of music as a flow of emphemeral sounds or events, closely associated with the organicist metaphor, and a or architectonic conception of musical relationships, emerging from the centuries-old frozen architecture metaphor, lies at the heart of the theory and analysis of musical form from its beginnings as an academic discipline in the mid-nineteenth century. Revisiting the controversial debate in historical music theories (Marx, Riemann, Schenker, Schoenberg, Kurth et al.) up to the spatial turn in new music aesthetics, the present essay argues for a close interdependency of and temporal aspects in the analysis of musical form. Based on a perception- and performance-sensitive analytical approach, three main case studies from different epochs (Guillaume Dufay's motet Nuper rosarum flores , Joseph Haydn's symphonies Hob. I:55, 86, and 91, as well as Edgard Varese's Arcana for Orchestra ) demonstrate the continuous impact and relevance of quasi-spatial markers in time as crucial aspects of a conception and perception of form while revealing evident transformational and processual qualities. By connecting these dimensions of formal time-space with historical discourses and contexts, the analyses aim at a convergence of speculative compositional practice and historically informed aesthetic experience." @default.
- W2604782103 created "2017-04-14" @default.
- W2604782103 creator A5090933489 @default.
- W2604782103 date "2016-01-01" @default.
- W2604782103 modified "2023-09-28" @default.
- W2604782103 title "Räumliche Vorstellungen als „Grundfunktionen des Hörens. Historische Dimensionen und formanalytische Potenziale musikbezogener Architekturund Raummetaphern–eine Diskussion anhand von Werken Guillaume Dufays, Joseph Haydns und Edgard Varèses" @default.
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