Die Musikforschung 2022-09-15T18:44:06+02:00 Gesellschaft für Musikforschung 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> Zum Gedenken an Arnfried Edler (1938–2022) 2022-09-15T15:36:56+02:00 Christine Siegert Axel Fischer 2022-09-15T00:00:00+02:00 Copyright (c) 2022 Die Musikforschung Mendelssohns Sololieder 2022-09-15T15:44:31+02:00 Sonja Gesse-Harm <p>Although the catalogue of the works of Felix Mendelssohn Bartholdy lists 129 solo songs, musicological interest in this sizeable oeuvre is very limited. In general, these compositions are criticized as sentimental art of the bourgeoisie and are not considered as equal to the innovative and important achievements of Franz Schubert or Robert Schumann. Nevertheless, Mendelssohn’s interest in the close connection of music and poetry is striking, and across his compositional output – including compositions with orchestra – the structural imprint of the Lied can be found. This paper first charts the low interest in this part of Mendelssohn’s oeuvre. In a second step it seeks to describe the characteristics of Mendelssohnian song and to determine its position within the history of the genre. Mendelssohn’s ideal of a poetic fusion of text and music, in which the music offers a more decisive (“bestimmt”) interpretation of the poetic text, led him to explore a wide array of stylistic options, allowing him to subtly transgress and transform the boundaries of the genre.</p> 2022-09-15T00:00:00+02:00 Copyright (c) 2022 Die Musikforschung Vom Menuett zum „Balladenton“ 2022-09-15T15:51:04+02:00 Tihomir Popović <p>The essay analyses techniques of musical archaism in two case studies, “Grandmother’s Minuet” (“Bestemors menuett”) op. 68, No. 2, and “Ballad” (“I balladetone”), op. 65, No. 5, from Edvard Grieg’s <em>Lyric Pieces</em>. Using the terminology of literary scholar Ingrid Leitner, who distinguishes between historicising and a-historising archaisms, the Minuet can be understood as an example of a historicising archaism with ironic elements. It contains compositional techniques specific to the period of music history referred to in the title: the Baroque. Typical rhythmical structures are found in the piece as well as compositional patterns of the period. Occasionally the archaism is interrupted by obvious elements of the musical language of Grieg’s own period. In the Ballad, the technique can be described as a-historicising archaicism: an archaicism not referring to a particular epoch, but rather creating a vague impression of antiquity, connected to Grieg’s notorious “Nordic Tone”.<br>The two types of archaism are discussed in the context of romantic literature, art, and architecture. When compared to a work such as the <em>Holberg Suite</em>, significant differences emerge: Whereas the Suite can be seen as a work of “primary joy” in and enthusiasm for the music of the Baroque period, the archaism in the <em>Lyric Pieces</em> is intertwined with the processes of romantic composing.</p> 2022-09-15T00:00:00+02:00 Copyright (c) 2022 Die Musikforschung Musiker als Heroen einer österreichischen Identität und Kulturpolitik in der Zwischenkriegszeit 2022-09-15T16:00:12+02:00 Markus Helmut Lenhart <p>In the aftermath of the collapse of the Austro-Hungarian Empire in 1918, the new Republic of Austria had problems to define a specific Austrian nationality. In search for such a national identity, politicians and scholars referred to a particular Austrian culture, stressing the role of music that defined Austria as a “Musikland” (land of music). A critical analysis of musicological texts published by Austrian scholars such as Robert Lach, Alfred Orel and Adolf Sandberger in the interwar years reveals a strong reliance on a narrowly circumscribed group of musicians, who were singled out as exemplary bearers of an Austrian national identity, with a strong emphasis on Viennese musical culture shaped by the native landscape. In this capacity Haydn, Mozart, Beethoven and Schubert (flanked by Brahms, Bruckner, Strauß and Wolf ) were presented to the general public as “heroes”, using not only scholarly texts but also films and music festivals for the dissemination of this musical Austrian identity.</p> 2022-09-15T00:00:00+02:00 Copyright (c) 2022 Die Musikforschung Unter die Lupe genommen: 2022-09-15T16:05:51+02:00 Rainer Nonnenmann <p>Beethoven enjoys an astonishing presence in contemporary musical life, although two hundred years separate him from our present. His mature works are considered “the foundation of modern music” (Hans-Joachim Hinrichsen 2019). However, their continued veneration and marketing has often led to a failure to recognise their potential for innovation, which once made them the new music of their time. Like “classical music” in general, Beethoven is frequently misunderstood as a self-evident exhibit in “The Imaginary Museum of Musical Works” (Lydia Goehr 1992). The tension between enduring modernity and growing historical distance makes Beethoven a central point of reference for contemporary composers. Since his 200th anniversary in 1970, numerous compositional explorations of his music have emerged, especially in the run-up to the 250th anniversary in 2020. Using a small selection of new instrumental works from the 2010s by Hans Zender, Johannes Schöllhorn, Frank Zabel, Johannes Quint, Vito Palumbo and others, this essay examines various ways of arrangements and recompositions which reflect on, update or analyse Beethoven’s music.</p> 2022-09-15T00:00:00+02:00 Copyright (c) 2022 Die Musikforschung Besprechungen 2022-09-15T16:11:50+02:00 Janz Tobias Boris Voigt Arne Stollberg Franz Körndle Hanna Walsdorf Peter Schmitz Elisabeth Schmierer Sean Reilly Kadja Grönke Julia Freund Patrick Becker-Naydenov Dominik Dungel Stephanie Schroedter Konstantin Jahn 2022-09-15T00:00:00+02:00 Copyright (c) 2022 Die Musikforschung Eingegangene Schriften 2022-09-15T16:34:27+02:00 o. V. 2022-09-15T00:00:00+02:00 Copyright (c) 2022 Die Musikforschung Eingegangene Notenausgaben 2022-09-15T16:52:45+02:00 o. V. 2022-09-15T00:00:00+02:00 Copyright (c) 2022 Die Musikforschung Mitteilungen 2022-09-15T17:00:20+02:00 o. V. 2022-09-15T00:00:00+02:00 Copyright (c) 2022 Die Musikforschung Tagungsberichte 2022-09-15T17:06:12+02:00 o. V. 2022-09-15T00:00:00+02:00 Copyright (c) 2022 Die Musikforschung Die Autorinnen und Autoren der Beiträge 2022-09-15T17:07:51+02:00 o. V. 2022-09-15T00:00:00+02:00 Copyright (c) 2022 Die Musikforschung