Klett-Cotta-Verlag Psychology
Hauptbeitrag

Komponierte, interpretierte und wahrgenommene Zeit

Zur Integration temporaler Strukturen in eine performative Analyse – eine Diskussion anhand von Johann Sebastian Bachs Goldberg-Variationen


April 2017, 21. Jahrgang, Heft 82, pp 5-23



Abstract
Composed, Interpreted and Perceived Time: The Integration of Temporal Structures into a Performative Analysis – a Discussion with Reference to J. S. Bach’s Goldberg Variations – Recent developments in interpretation research and performance studies have raised doubts as to whether musical performances genuinely, as often claimed, underline ›structural‹ properties of musical works. Rather, spontaneous, unorthodox ways of treating tempo and dynamics – ›accents pathétiques‹ (Mathis Lussy) – are used to establish relationships that a conventional score analysis can barely pick up or dictate. Against this background, the present essay attempts to grasp Variation 21 from Bach’s Goldberg Variations and its position within the overall temporal framework by means of a ›performative analysis‹ integrating structure-, interpretation- and reception-analytical aspects, and on the basis of a categorial model of temporal perception in music (›spatialized time‹, ›transformative time‹, ›presentist time‹). Here Robert Hill’s idea of performance as ›formal analysis in real time‹ acts as the starting-point for detailed analytical observations on micro- and macro-form amid the tensions of interpretation history. What transpires, especially in the comparison of different tempo dispositions for the entire cycle, is a tension between architectural coherence and a discontinuity in which spatialized time is broken through in the direction of presentist time, or allows itself to be carried along in the mobility of transformative time.

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