Die Sequenz in der deutschen Musiktheorie um 1900
1st Edition
Published in August 2012
Book
Paperback/Softback
238 pages
978-3-487-14830-4 (ISBN)
Description
Es gibt kaum ein musikalisches Phänomen, dessen Rezeption durch einen ähnlich engen Konnex zwischen satztechnisch-strukturellen Aspekten und ästhetischen Werturteilen gekennzeichnet ist, wie das der Sequenz. Mehrere Entwicklungen lassen es besonders ergiebig erscheinen, die Jahre zwischen 1870 und 1925 zum zentralen Zeitraum einer theoriegeschichtlichen Untersuchung der Sequenz zu machen: Mit Riemanns Funktionstheorie bildet sich eines der bis heute wirkmächtigsten theoretischen Paradigmen des 19. Jahrhunderts heraus. Daneben entsteht eine unüberschaubare Fülle von Publikationen zur praktischen Harmonielehre. Schließlich führen neue analytische Ansätze nach 1900 zu einem Wandel der ästhetischen Bewertung. Gerade jene Aspekte der Sequenz, die von der Musiktheorie des späten 19. Jahrhunderts als problematisch angesprochen wurden, werden nun zu zentralen Bezugspunkten einer neuen, auf die zeitgenössische Kompositionspraxis gerichteten Musiktheorie und -ästhetik: Das zunächst unscheinbare Phänomen 'Sequenz' erweist sich in der Zusammenschau als paradigmatischer Gegenstand der Theoriegeschichtsschreibung.
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There is hardly any other musical phenomenon whose reception has been characterised by such a tight nexus of technical and structural aspects and aesthetic judgements as the sequence. Various developments make it abundantly clear that the years between 1871 and 1925 were a crucial period in the study of the theoretical history of the sequence: the publication of Riemann's theory of functional harmony created of one of the most enduringly influential paradigms of the 19th century. At the same time an incalculable number of publications on the practical theory of harmony appeared. New analytical approaches after 1900 brought about a change in aesthetic evaluation. The same aspects of the sequence which had been addressed as problematic by late 19th-century music theory now became the focus of a new theory and aesthetics of music, oriented towards contemporary compositional practice: the initially inconspicuous phenomenon of the "sequence" is shown in a wider context to be a paradigm for the historiography of music theory.
***
There is hardly any other musical phenomenon whose reception has been characterised by such a tight nexus of technical and structural aspects and aesthetic judgements as the sequence. Various developments make it abundantly clear that the years between 1871 and 1925 were a crucial period in the study of the theoretical history of the sequence: the publication of Riemann's theory of functional harmony created of one of the most enduringly influential paradigms of the 19th century. At the same time an incalculable number of publications on the practical theory of harmony appeared. New analytical approaches after 1900 brought about a change in aesthetic evaluation. The same aspects of the sequence which had been addressed as problematic by late 19th-century music theory now became the focus of a new theory and aesthetics of music, oriented towards contemporary compositional practice: the initially inconspicuous phenomenon of the "sequence" is shown in a wider context to be a paradigm for the historiography of music theory.