Musiktheorie

Einsamkeit. Versuch über die Bildwelten Segantinis und Weberns
Musiktheorie (2015) Vol. 30, No. 4, pp. 364-369

In their reflections on art, both Anton Webern and Giovanni Segantini emphasize a positive notion of solitude and reclusiveness. They refer to the representation of the artist's solitary existence in which the mountains serve as a place of intensification, of ...

Flüchtige Bilder. Über Kunst und Wirklichkeit in Weberns "Segantini-Quartett"
Musiktheorie (2015) Vol. 30, No. 4, pp. 347-363

What did Webern motivate to relate sounding music to a real mountain landscape and the artificial imagery of Segantini's "Alpentriptychon"? Why didn't he make the apparent reference to Segantini as in his "Form-Entwurf" public in the subsequent autograph of the ...

Ideale Landschaft?: Bemerkungen zu Anton Weberns "Streichquartett (1905)"
Musiktheorie (2015) Vol. 30, No. 4, pp. 333-346

In this essay Anton Webern's posthumously published "String Quartet (1905)" is examined in the light of the composer's well-documented love of nature, and put into relation with Giovanni Segantini's "Alpine Triptych," the work mentioned in Webern's sketches as a source ...

Entwurf oder Ausarbeitung? Die Quellen zu Anton Weberns "Streichquartett (1905)"
Musiktheorie (2015) Vol. 30, No. 4, pp. 316-332

The distinction and possible tensions between the written score and a performance of a work is a medial characteristic of so called western art music. Furthermore "music" can be written down with regard to several functions, e.g. to sketch a ...