„Strafspiel“ und satirische Stilmittel in musikdramatischen Gattungen des frühen 18. Jahrhunderts (original) (raw)
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Musiktheorie 28, 3, pp. 209-231, 2013
The Dramatisation of Time. On the interrelations between Historical and Musical Time-Experience in the Late Eighteenth Century, with a Study on the Main Movement of Mozart's Symphonie K 338 The experience of historical time, scholars such as Reinhart Koselleck have argued, is itself subject to historical modification. In the late eighteenth century, especially in the wake of the French revolution, a new understanding of history as an irreversible process producing ‘new’, unpredictable events came into being. Such a new understanding of historical time, one is prone to assume, might have also influenced the contemporaneous experience of musical time - a speculation which forms the starting-point of Karol Berger's study “Bach's Circle, Mozart's Arrow”. Indeed, the musical language of Haydn and Mozart (and, arguably, most of their contemporaries) dramatizes time insofar as it enhances the unpredictability of musical events on the micro-level, the possibility for the composer to ‘surprise’ his (or her) listeners. However, musical forms in the Classical period also tended to rely on repetition, reprise and symmetry, which seems to contradict any perceived analogy between the experience of historical and musical time ca. 1780-1800. But in fact dramatization and symmetry were necessarily dependent on each other during the Classical period. A study of the peculiar sonata-form of the main movement of Wolfgang Amadé Mozart's Symphony in C major K 338 seeks to demonstrate this, and speculates that this movement was a kind of ‘first draft’ to the overture of Mozart's oncoming major compositional project, “Idomeneo”.
ZGMTH, 2018
Die vorliegende, vom Kyrie I der Missa Sine Nomine ausgehende Untersuchung widmet sich bemerkenswerten Eigenarten der Kompositionstechnik Alexander Agricolas (1446–1506), dem schon die unmittelbaren Nachfahren bescheinigten, Dinge »auf ungewohnte Weise zu wenden« (Hulrich Brätel 1536). Tatsächlich zeigen sich bestimmte Paradoxien im Tonsatz des späten 15. Jahrhunderts bei Agricola auf besonders eigentümliche Weise. Die Studien von Fabrice Fitch (2005; 2007) vertiefend, diskutiert der Beitrag die Frage, auf welche Weise Agricola seinerzeit Regeln ›verkehrte‹ und sich über satztechnische Normen hinwegsetzte. In diesem Zusammenhang wird der Begriff der ›mi contra fa-Latenz‹ vorgeschlagen, um den grundsätzlichen Problemen der Musica ficta zu begegnen. This essay, starting with the Kyrie I of the Missa Sine Nomine, is dedicated to some remarkable compositional idiosyncracies of Alexander Agricola (1446–1506), of whom his contemporaries attested the talent of “turning things in an unexpected manner” (Hulrich Brätel 1536). Certain paradoxes in the formal composition of late 15th century music appear in Agricola’s work in a strange fashion. Drawing on and furthering the studies of Fabrice Fitch (2005; 2007), this paper reveals how Agricola breaks with compositional conventions. To frame this analytical discussion, I propose the term “mi contra fa-Latenz” to explain some of the fundamental problems of musica ficta.
Thronfolge als Problem. Zur Bedeutung der Pragmatischen Sanktion von 1713 für das Dramma per musica
Maria Theresias Kulturwelt. Geschichte, Religiosität, Literatur, Oper, Ballettkultur, Architektur, Malerei, Kunsttischlerei, Porzellan und Zuckerbäckerei im Zeitalter Maria Theresias, ed. Pierre Béhar et al., Hildesheim, Olms, 2011, pp. 77–90, 2011