Festschrift für Ernst Lichtenhahn zum 80. Geburtstag – Festschrift for Ernst Lichtenhahn’s 80th Birthday
Edited By Antonio Baldassarre and Marc-Antoine Camp
Without any exaggeration one can call Ernst Lichtenhahn a doyen of Swiss music research. As one of the few musicologists in the German-speaking sphere he has succeeded in merging different linguistic-cultural and disciplinary research traditions. In his manner of scientific understanding, historical and systematic musicology, ethnomusicology and music practice are methodologically and topically related closely to each other, entirely consistent with the holistic concept of music research as developed by Guido Adler. With the title «Communicating Music», this Festschrift for Ernst Lichtenhahn’s 80 birthday attempts to take up and to further develop the diversity of scientific issues as emerged through such an understanding. It collects papers that come from a variety of methodological and theoretical perspectives to deal with issues about the discursive nature of music, about mediation and transformation processes of music as well as about the discourse on music itself.
Über Bagatellen übermässig reden – zu Ludwig van Beethovens op. 119 Nr. 8
Summary: The second of Beethoven’s so-called five kleinigkeiten written for a contemporary piano manual of 1821 seemingly appears as a simple and manageable piece of music in C Major and in 3/4 time. It provides material for questions about musical writing, syntax, logic and rhetoric. The present chapter focuses on the interplay between solidity and ambiguity in music and on considerations referring to musical matters, on the character of music as speech, on the premises and limits of musical analysis and, last but not least, on the concept of musical coherence as an elusive phenomenon between geometric congruence and the expectations of the “ideal listener” towards the “ideal interpreter” of Beethoven’s “minor art form.” The results of two analyses of Beethoven’s Bagatelle Op. 119 no.8 are explored in depth. They belong to the tradition of Anglo-Saxon music theory, and consideration of them reveals the wide range of approaches to a piece of music – oscillating between the ideas of music as speech and as moving form – that, 190 years after its composition, still irritates.
„Drei Zeilen, und darin ein Geschehen in aller Stille, in Worten nicht auszuschöpfen.“1
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