In die Stille geleiten
We mainly perceive silence in music when time seems to stand still: for example, immediately before the beginning of a work. Silence lingers there outside the sounding music, John Cage forced it into a work in 1952. Inaudible because it is silent throughout, 4'33'' blurs the boundaries of the work a...
সংরক্ষণ করুন:
| প্রধান লেখক: | |
|---|---|
| বিন্যাস: | Online |
| ভাষা: | জার্মান |
| প্রকাশিত: |
Tübingen University Press
2024
|
| বিষয়গুলি: | |
| অনলাইন ব্যবহার করুন: | ONIX_20240321_9783947251261_12 |
| ট্যাগগুলো: |
কোনো ট্যাগ নেই, প্রথমজন হিসাবে ট্যাগ করুন!
|
| _version_ | 1869515710436212736 |
|---|---|
| author | Kurze, Fabian |
| author_browse | Kurze, Fabian |
| author_facet | Kurze, Fabian |
| author_sort | Kurze, Fabian |
| collection | Directory of Open Access Books |
| description | We mainly perceive silence in music when time seems to stand still: for example, immediately before the beginning of a work. Silence lingers there outside the sounding music, John Cage forced it into a work in 1952. Inaudible because it is silent throughout, 4'33'' blurs the boundaries of the work and at the same time embodies the principle of the silent fermata: an infinitely long period of time. Its condition of possibility was outlined by the ancient Greek theory of time and music as the place of the world soul: an eternally recurring zero point of time. Erwin Schulhoff's ophthalmic music In futurum (1919) explored it with pauses. And as early as 1607, Claudio Monteverdi's prologue to Orfeo transformed the silent standstill into a commandment to be still. In Franz Schubert's and Robert Schumann's music, two other places of silence can be recognized: in silence as a tonal goal, which is sought in vain in Schubert's Piano Sonata in B flat major (1828), and in the tone of volume zero, which as an infinitely distant sound transcends the geometric system of notation. |
| format | Online |
| id | doab-20.500.12854ir-135841 |
| institution | Directory of Open Access Books |
| language | ger |
| publishDate | 2024 |
| publishDateRange | 2024 |
| publishDateSort | 2024 |
| publisher | Tübingen University Press |
| publisherStr | Tübingen University Press |
| record_format | ojs |
| spelling | doab-20.500.12854ir-1358412024-03-24T11:39:34Z In die Stille geleiten Kurze, Fabian silence stillness musical notation phenomenology thema EDItEUR::A The Arts::AV Music::AVA Theory of music and musicology We mainly perceive silence in music when time seems to stand still: for example, immediately before the beginning of a work. Silence lingers there outside the sounding music, John Cage forced it into a work in 1952. Inaudible because it is silent throughout, 4'33'' blurs the boundaries of the work and at the same time embodies the principle of the silent fermata: an infinitely long period of time. Its condition of possibility was outlined by the ancient Greek theory of time and music as the place of the world soul: an eternally recurring zero point of time. Erwin Schulhoff's ophthalmic music In futurum (1919) explored it with pauses. And as early as 1607, Claudio Monteverdi's prologue to Orfeo transformed the silent standstill into a commandment to be still. In Franz Schubert's and Robert Schumann's music, two other places of silence can be recognized: in silence as a tonal goal, which is sought in vain in Schubert's Piano Sonata in B flat major (1828), and in the tone of volume zero, which as an infinitely distant sound transcends the geometric system of notation. 2024-03-21T07:53:19Z 2024-03-21T07:53:19Z 2021 book ONIX_20240321_9783947251261_12 9783947251261 https://directory.doabooks.org/handle/20.500.12854/135841 ger Tübinger Beiträge zur Musikwissenschaft image/jpeg n/a http://hdl.handle.net/10900/119606 Tübingen University Press 10.15496/publikation-60979 We mainly perceive silence in music when time seems to stand still: for example, immediately before the beginning of a work. Silence lingers there outside the sounding music, John Cage forced it into a work in 1952. Inaudible because it is silent throughout, 4'33'' blurs the boundaries of the work and at the same time embodies the principle of the silent fermata: an infinitely long period of time. Its condition of possibility was outlined by the ancient Greek theory of time and music as the place of the world soul: an eternally recurring zero point of time. Erwin Schulhoff's ophthalmic music In futurum (1919) explored it with pauses. And as early as 1607, Claudio Monteverdi's prologue to Orfeo transformed the silent standstill into a commandment to be still. In Franz Schubert's and Robert Schumann's music, two other places of silence can be recognized: in silence as a tonal goal, which is sought in vain in Schubert's Piano Sonata in B flat major (1828), and in the tone of volume zero, which as an infinitely distant sound transcends the geometric system of notation. 10.15496/publikation-60979 28af0064-9575-4368-9692-69ce53023f52 9783947251261 34 220 Tübingen open access |
| spellingShingle | silence stillness musical notation phenomenology thema EDItEUR::A The Arts::AV Music::AVA Theory of music and musicology Kurze, Fabian In die Stille geleiten |
| title | In die Stille geleiten |
| title_full | In die Stille geleiten |
| title_fullStr | In die Stille geleiten |
| title_full_unstemmed | In die Stille geleiten |
| title_short | In die Stille geleiten |
| title_sort | in die stille geleiten |
| topic | silence stillness musical notation phenomenology thema EDItEUR::A The Arts::AV Music::AVA Theory of music and musicology |
| topic_facet | silence stillness musical notation phenomenology thema EDItEUR::A The Arts::AV Music::AVA Theory of music and musicology |
| url | ONIX_20240321_9783947251261_12 |
| work_keys_str_mv | AT kurzefabian indiestillegeleiten |