Archiv für Musikwissenschaft

Die spätbarocke Musikpraxis in der oberösterreichischen Zisterzienserabtei Wilhering
Archiv für Musikwissenschaft (2015) Vol. 72, No. 3, pp. 181-187

Following the reconstruction of the Cistercian Wilhering Abbey in Upper Austria, which was completely destroyed by a fire in 1733, Abbot John Baptist IV Hinterhölzl initiated a comprehensive spiritual renewal of the monastery's cultural direction. Guided by the late Baroque ...

Formprinzipien in Symphonien Mannheimer und französischer Komponisten und ihre Herkunft
Archiv für Musikwissenschaft (2015) Vol. 72, No. 3, pp. 159-180

The author challenges Stefan Kunze's narrow view regarding French dependence on the Mannheim symphony and chronologically assesses compositions from German-speaking countries published in Paris, concentrating on analyses of the main theme's recapitulations and the conversion of secondary material to tonic ...

Archiv für Musikwissenschaft (2015) Vol. 72, No. 2, pp. 158

In the previous issue (1/2015), a misunderstanding concerning punctuation altered the intended meaning of the following sentence in Leo Treitler's article "Speaking of the I-Word." The relevant sentence (p. 16, line 8) should read: "However many writers on music may ...

"Altes im neuen Werk": Leo Schrade im Diskurs mit Paul Hindemith
Archiv für Musikwissenschaft (2015) Vol. 72, No. 2, pp. 146-158

Leo Schrade and Paul Hindemith taught simultaneously at Yale University for over a decade. Both fled Nazi Germany in the late 1930s and shortly thereafter became faculty members at the newly-established Department of Music (Schrade), i.e. the School of Music ...

Die Rolle der viktorianischen Zensur bei Aufführungen von Giuseppe Verdis Opern in London
Archiv für Musikwissenschaft (2015) Vol. 72, No. 2, pp. 124-145,158

In its day, nineteenth-century London was one of the most prominent centers for Italian opera. That top singers earned top fees contributed to the fact that the city was home to many first performances of Verdi operas in England. Nevertheless, ...

Der Contrapunctus I aus der Kunst der Fuge (BWV 1080) als Vervollständigung der autographen Vorlage zur instrumentalen Klangrede
Archiv für Musikwissenschaft (2015) Vol. 72, No. 2, pp. 99-123,158

The "rhetorical analysis" is not only useful for analysis but also in the clarification of theoretical problems, as applied here to the following question. When compared to the first published version, is J.S. Bach's handwritten draft of The Art of ...

Musik in den Werken Giordano Brunos: Eine erste Erkundung
Archiv für Musikwissenschaft (2015) Vol. 72, No. 2, pp. 77-98,158

In the worldview of Giordano Bruno, nature-and consequently man-is constantly in a state of transformation (cf. Heraclitus). Only through knowledge and internalization of the mechanisms relating to this uninterrupted metamorphosis of everything into everything else can the magician-philosopher gain the ...

Claude Debussy: Douze études pour piano
Archiv für Musikwissenschaft (2015) Vol. 72, No. 1, pp. 55-75

The author considers Debussy's twelve etudes for piano as a systematic reflection on the foundations of music and musical composition. For four of the etudes, procedures relating to the artistic de-composition of the foundations of their musical language are discussed; ...

Zauberklänge und singende Teufel
Archiv für Musikwissenschaft (2015) Vol. 72, No. 1, pp. 36-54

In Franz Schreker's commentaries on his operas, but even more so in the scores themselves, an orientation toward Ferruccio Busoni's music aesthetics becomes apparent. This is primarily exhibited in the idea of music's role in opera being strategically legitimized by ...

"Leute unseres Geistes"
Archiv für Musikwissenschaft (2015) Vol. 72, No. 1, pp. 19-35

Bernd Alois Zimmermann and Karlheinz Stockhausen were central figures of the New Music circle in the 1950's and 60's. They both lived in Cologne, studied and taught at the Musikhochschule there, were active in the International Society of New Music ...


The Archiv für Musikwissenschaft ("Musicology Archive") reflects the state of research in music history and current methodology in the discipline of musicology. Founded in 1918, the journal interrupted publication in 1927, but has appeared continuously since 1952. It is one of the leading professional journals in the German-speaking countries, but enjoys global recognition and standing. At the same time, the refereed journal provides young musicologists a platform for the publication of their research findings. In spite of its historical emphasis, the journal is open to all areas of research in music, whether it be transdisciplinary, intercultural, ethnographic or analytical. In its broad spectrum of musical subjects and approaches, the Archiv für Musikwissenschaft serves the goal of promoting contemporary theoretical insights in music.

Publisher Franz Steiner Verlag
ISSN (Print) 0003-9292
Year started 1918
Indexed 1923 articles

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