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.
„Auch ohne Worte kann sie Würkung thun“: Instrumentalmusik als Kommunikationsmittel in musikalischen Schriften des 18. und frühen 19. Jahrhunderts
„Auch ohne Worte kann sie Würkung thun“1
Instrumentalmusik als Kommunikationsmittel in musikalischen Schriften des 18. und frühen 19. Jahrhunderts
Renate Lemmer Schönenberger
Summary: Based on the concept of instrumental music as a wordless means of communication, one can explore the various strands of the development of music aesthetics that coexisted in the eighteenth century: deeply anchored within the concept of music as speech baroque instrumental music was not only legitimised by the art of composition but also by the imitation of the speaking voice and by singing. The artful presentation of affects was gradually transformed into an immediate aesthetics of expression that as the language of the soul displayed a communicative force among the composer, performer and listener without any need for words or translation. However, music as a pleasant art remained inferior to the other arts and was elevated only at the end of the eighteenth century. This change was greatly influenced by contemporary literature and resulted in the appreciation of instrumental music as the epitome of music par excellence. Representing in essence the ineffable and indeterminate music no longer retained a communicative function but rather conducted people into the world of autonomous music. This reinterpretation of instrumental music was more the expression of a fundamental change with regard to the definition of music as such than of a correspondence between music-aesthetic claims and musical practice around 1800. In this way instrumental music became the holder of...
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.