https://journals.qucosa.de/mf/issue/feed Die Musikforschung 2022-06-15T10:07:59+02:00 Gesellschaft für Musikforschung G.f.Musikforschung@T-Online.de Open Journal Systems <p><em>Die Musikforschung</em> ist das wichtigste Forum der Musikwissenschaft in Deutschland. Hier erscheinen Beiträge zum Fach in allen seinen inhaltlichen und institutionellen Ausprägungen. Deutsch- und fremdsprachige Publikationen zur gesamten Themenvielfalt musikwissenschaftlicher Forschung und Edition werden rezensiert. Einmal jährlich werden die Themen der an deutschen Universitäten und Musikhochschulen angenommenen Dissertationen mitgeteilt. Außerdem enthält die Zeitschrift aktuelle Nachrichten aus Instituten, zu Forschungsprojekten und zu Personen. Auf einer ergänzenden Website finden sich unter anderem Berichte über musikwissenschaftliche Tagungen und Abstracts von Dissertationen.</p> <p><em>Die Musikforschung</em> erscheint seit 1948 mit vier Heften pro Jahr. Die Jahrgänge ab 2011 werden zurzeit mit einer moving wall von drei Jahren im open access bereitgestellt, Mitglieder der Gesellschaft für Musikforschung haben auch auf ältere und die aktuellen Jahrgänge Zugriff.</p> https://journals.qucosa.de/mf/article/view/3044 Besprechungen 2022-06-07T17:16:18+02:00 Bernhard R. Appel sabine.koch@slub-dresden.de [et al.] sabine.koch@slub-dresden.de 2022-06-15T00:00:00+02:00 Copyright (c) 2022 Die Musikforschung https://journals.qucosa.de/mf/article/view/3045 Die im Jahre 2021 angenommenen musikwissenschaftlichen und musikpädagogischen Dissertationen 2022-06-07T17:20:24+02:00 Katharina Bergmann sabine.koch@slub-dresden.de 2022-06-15T00:00:00+02:00 Copyright (c) 2022 Die Musikforschung https://journals.qucosa.de/mf/article/view/3046 Eingegangene Schriften 2022-06-07T17:24:42+02:00 o. V. sabine.koch@slub-dresden.de 2022-06-15T00:00:00+02:00 Copyright (c) 2022 Die Musikforschung https://journals.qucosa.de/mf/article/view/3047 Eingegangene Notenausgaben 2022-06-07T17:26:47+02:00 o. V. sabine.koch@slub-dresden.de 2022-06-15T00:00:00+02:00 Copyright (c) 2022 Die Musikforschung https://journals.qucosa.de/mf/article/view/3050 Mitteilungen 2022-06-07T17:29:52+02:00 o. V. sabine.koch@slub-dresden.de 2022-06-15T00:00:00+02:00 Copyright (c) 2022 Die Musikforschung https://journals.qucosa.de/mf/article/view/3051 Tagungsberichte 2022-06-07T17:32:48+02:00 o. V. sabine.koch@slub-dresden.de 2022-06-15T00:00:00+02:00 Copyright (c) 2022 Die Musikforschung https://journals.qucosa.de/mf/article/view/3052 Die Autorinnen und Autoren der Beiträge 2022-06-07T17:42:13+02:00 o. V. sabine.koch@slub-dresden.de 2022-06-15T00:00:00+02:00 Copyright (c) 2022 Die Musikforschung https://journals.qucosa.de/mf/article/view/3039 Zum Gedenken an Manfred Hermann Schmid (1947–2021) 2022-06-07T16:51:03+02:00 Klaus Aringer sabine.koch@slub-dresden.de 2022-06-15T00:00:00+02:00 Copyright (c) 2022 Die Musikforschung https://journals.qucosa.de/mf/article/view/3040 Zum Gedenken an Volker Scherliess (1945–2022) 2022-06-07T16:55:04+02:00 Wolfgang Sandberger sabine.koch@slub-dresden.de 2022-06-15T00:00:00+02:00 Copyright (c) 2022 Die Musikforschung https://journals.qucosa.de/mf/article/view/3041 Wagners Mythos 2022-06-07T16:57:14+02:00 Simon Tönies sabine.koch@slub-dresden.de <p>This study revisits the debate about antisemitic subtexts in Richard Wagner’s music dramas and offers an outline of an ideology-critical analysis of his works. The proposed methodology avoids speculations about the author’s intentions and instead – in accordance with post-structural semiotics – reconstructs ideology as an intersubjective and context-driven sign system, modelled on Roland Barthes’s theory of myth. This approach is demonstrated with two examples taken from <em>Siegfried</em> and <em>Die Meistersinger von Nürnberg</em>. In a first step, I apply intertextual analysis in order to identify antisemitic codes that potentially overlap with the primary text of the operas. In a second step, the specific manner in which those codes are embedded in the multimedia semiosis of the music drama is examined with a particular emphasis on the role of the music. I argue that Wagner’s music tends to modify these codes by presenting them as natural and immediate, thus serving as a vehicle of ideology. Finally, in light of these considerations, I suggest an alternative approach to performing Wagner’s operas today.</p> 2022-06-15T00:00:00+02:00 Copyright (c) 2022 Die Musikforschung https://journals.qucosa.de/mf/article/view/3042 Sprachlosigkeit und Trauma in Toshio Hosokawas "Voiceless Voice in Hiroshima" (1989/2001) 2022-06-07T17:04:25+02:00 Veronika Knodel sabine.koch@slub-dresden.de <p>The oratorio<em> Voiceless Voice in Hiroshima</em> (1989/2001) by the Japanese composer Toshio Hosokawa commemorates the atomic bombing of Hiroshima on 6 August 1945. While the contemporary composer has received considerable attention in music criticism and musicological writings, his oratorio has rarely been considered. <em>Voiceless Voice in Hiroshima</em> represents not only a central point of reference for Hosokawa’s aesthetic ideas; it also offers insights into his understanding of music, nature and humanity. In this work Hosokawa merges the Japanese topos of the seasonal cycle with the genre of the oratorio. The latter connects the work with a post-war tradition, where religious, literary, philosophical and political texts are embedded in the Christian Requiem, in order to mourn the traumatic events of the Second World War. Since 1945 the oratorio has become a central medium of memory for the Second World War. This article develops an interpretation of <em>Voiceless Voices in Hiroshima </em>against the backdrop of research into cultural memory and psychological approaches to trauma: While in the second movement eyewitness accounts, political speeches and the sounds of sirens recall the trauma of war, the later movements represent processes of regeneration and self-discovery under the auspices of the changing of the seasons. In this process, the notion of “breath” is of paramount importance, its flowing and abrupt stopping illustrating the struggle for verbal and vocal expressiveness.</p> 2022-06-15T00:00:00+02:00 Copyright (c) 2022 Die Musikforschung https://journals.qucosa.de/mf/article/view/3043 „dovute grazie in musica“ 2022-06-07T17:10:11+02:00 Nastasia Heckendorff sabine.koch@slub-dresden.de <p>This article presents and examines two newly discovered letters by the composer Luigi Rossi, (1597/1598–1653) as well as a letter written to him by the Duke Paolo Giordano Orsini II. Rossi represents one of the most famous musicians during the period of pope Urban VIII. Barberini and a key figure within the cultural exchanges between Rome and Paris. In 1647 his <em>L’Orfeo</em>, the first opera explicitly composed for France, was presented at the Palais Royal. The letters date from the later period in Rossi’s life (1645, 1648, and 1650) and are directed to aristocratic families: the Bentivoglio from Ferrara and the Savoy in Turin. Through analysis and contextualisation of the sources from diverse perspectives, the article throws new light on the composer’s biography regarding his activity as political informant and the cantata production during his second stay in France. The appendix of the article offers a critical edition of the letters.</p> 2022-06-15T00:00:00+02:00 Copyright (c) 2022 Die Musikforschung