Book series: "Paraphrases" – Contributions to Music Theory from Weimar

Praktische Musiktheorie ("Practical Music Theory")

Volume 5
2017. 324 pp., numerous figures

In five chapters, the book brings together the concepts and methods of practical music theory. "Learning through playing" reveals three surprising ways to approach music theory. "Playing and learning" inverts this perspective, focusing on the connection between music theory and interpretation, explained by Peter Gülke, among others. "Research from practice’ starts by looking at the approach of instrumental practice, from the partimento tradition through to the most delicate investigations of microtones. ‘Practice for research’ reports on singing, movement and transcription, each leading to findings in different ways. The conclusion comes in the form of a practical project: students studying a major subject in the Master’s Degree in Music Theory at the University of Music FRANZ LISZT Weimar developed their own chapter, shedding light on ‘Practical education’ in the music school domain.

The focus lies on the artistic qualities of the subject: this volume demonstrates how far practical applications can go in music theory. It is dedicated to Matthias Franke, a scholar of music theory who died at a young age, and contains his final lecture.

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Warum ist Musik erfolgreich? Beiträge der IX. Weimarer Tagung "Musiktheorie und Hörerziehung" (Why is Music Successful? Papers from the IX Weimar conference "Musiktheorie und Hörerziehung")

Volume 4
2016. 202 pp.

Success cannot be reduced to a single common denominator. However, you can formulate approaches to it from various perspectives, without reducing art to a recipe. The question as to what promises success can be discussed by turning this wording around: what (doubtless high-quality) music did not enjoy success? What success was linked to the particular era at hand, not leaving any traces in the generations that followed? The actual meaning of success also always needs to be stated. What criteria, then, can music theory use to make the success or failure of a work, or of a composer, tangible?

This volume is divided into five topic-areas, each encompassing two contributions. Firstly, two undisputedly successful composers are interviewed, in order to discover their strategies, before the inverse is explored: artists whose artistic quality is higher than the level of their reception. We meet successful artists whose success remains tied to their era, along with artists who oscillate between being forgotten and being rediscovered. Finally, musical modernism is explored.

Organisierte Post-Tonalität. Studien zu einer Synthese von Pitch-class set theory und Schichtentheorie Heinrich Schenkers (Organised Post-Tonality. Studies on a Synthesis of Pitch-Class Set Theory and Heinrich Schenker's Strata Theory)

Volume 3
2017. 231 pp.

Which laws does the organisation of tone material in post-tonal music from the era of ‘Classical Modernism’ follow? Is there ‘free atonality’? How do harmony and counterpoint interact with each other in this music? And, to trace all this, is it possible to bring the two paradigms of music theory, pitch-class set theory as proposed by Allen Forte, and strata theory as proposed by Heinrich Schenker, together to form a competent, useful synthesis? The study explores these questions of music theory within a historical summary of the discourse regarding existing approaches to combining pitch-class set theory and strata theory, as well as by analysing selected compositions by Arnold Schönberg.

Musiktheorie und Vermittlung. Didaktik · Ästhetik · Satzlehre · Analyse · Improvisation (Music Theory and Teaching · Didactics · Aesthetics · Harmonics · Analysis ·Improvisation)

Volume 2
2014. 384 pp.

This work focuses on the question of how to teach the content of the subject of music theory at a high creative level. The papers published here, written for the VI International Congress of the Society of Music Theory in Weimar, provide experience and expertise, offer teachers and learners an array of new stimuli, and present didactic concepts. With contributions on Gregorian repertoire through to György Ligeti’s piano concerto, it demonstrates that the subjects of music theory and aural training can draw on an exceptionally broad range in the present day. In addition, it offers reflections on the aesthetic implications of harmonics, as well as numerous examples for the contemporary analysis of works and aural analysis. This illustrates how vivid and interesting music theory can be, and how this subject can be home to stimulating thoughts, reflections and discussions relating to music notes themselves.

Von Brücken und Brüchen. Musik zwischen Alt und Neu, E und U. (Of Bridges and Breaks. Music from Old to New, Serious to Light.)

Volume 1
2013. 231 pp. with score examples

In this volume, the annual Weimar conference "Musiktheorie und Hörerziehung" is documented in writing for the first time.
Building bridges: at the 2012 conference, this was primarily intended to occur through the power of contrasts. On the one hand, there was research on the new in old music, and the old in new music; on the other, the opposition often marked with reference to ‘serious’ and ‘light’ music was to be explored from a modern-day perspective. This gave rise to useful connections, for example, between the traditional and the avant-garde, but also findings relating to delineations and separations. As a result, it would be possible to talk of both bridges and breaks.

Building bridges: this also stands, symbolically, for the book series of the Centre of Music Theory at the University of Music FRANZ LISZT Weimar, which began with this volume. It strives to create connections between musical theory and pedagogy, just as the Weimar conference "Musiktheorie und Hörerziehung" has done since it was established.