Relevant bibliographies by topics / Heinrich Besseler

Academic literature on the topic 'Heinrich Besseler'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Heinrich Besseler"

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PRITCHARD, MATTHEW. "Who Killed the Concert? Heinrich Besseler and the Inter-War Politics of Gebrauchsmusik." Twentieth-Century Music 8, no. 1 (March 2011): 29–48. http://dx.doi.org/10.1017/s1478572211000272.

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AbstractBy examining the ideas expressed by the German musicologist Heinrich Besseler in his 1925 essay ‘Grundfragen des musikalischen Hörens’, this article attempts to find precedents in Weimar Germany for a contemporary social conception of music, and to trace the effects of this conception on music history between the wars. Although Besseler's position is seen to be complex and not wholly consistent, from his ideal of music as an expression of community (Gemeinschaft) arose two influential claims: that the concert was in crisis because it could no longer correspond to that ideal, and that the real source of communal vitality lay in Gebrauchsmusik, music for everyday use. The article explores the immediate political and musical consequences of these claims, both for the German youth music movement (Jugendmusikbewegung) and for Gebrauchsmusik as composed by Weill, Hindemith, and Eisler. It argues that the social aims of the Gebrauchsmusik movement were in fact best met when combined with an earlier understanding, rejected by Besseler himself, of the concert's own ‘community-forming power’ – a theoretical combination that was to lead outside Europe to the American musical and the Soviet symphony. By contrast, the sidelining of such ideas in post-war Germany was reflected in Adorno's outright rejection of musical community, a move which served to confirm only Besseler's first, negative claim – thereby establishing as normative an ‘autonomous’ conception of concert music and leaving musicology unable to give any positive account of the concert's social role.
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Bäcker, Rolf. "Relaciones internacionales del Instituto Español de Musicología durante los primeros años del trabajo de Miguel Querol: el ejemplo de Heinrich Besseler." Anuario Musical, no. 61 (December 31, 2006): 273. http://dx.doi.org/10.3989/anuariomusical.2006.61.13.

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El presente artículo centra su interés en el musicólogo alemán Heinrich Besseler, y su relación con el Instituto Español de Musicología a través de Miquel Querol y Higini Anglès, relación de algún modo paradigmática para la participación de la musicología española de la época en la red internacional de instituciones y personas dedicadas a la disciplina. Basándose en la documentación guardada en el Departamento de Musicología de la Institució Milà i Fontanals, la presente contribución pretende arrojar alguna luz sobre Besseler y el IEM, cuya colaboración se concretó en un estudio presentado a escala internacional en el IV Congreso de la Sociedad International de Musicología.
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Janz, Tobias, and Jan Philipp Sprick. "Einheit der Musik - Einheit der Musikwissenschaft?" Die Musikforschung 63, no. 2 (September 22, 2021): 113–33. http://dx.doi.org/10.52412/mf.2010.h2.234.

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Zunächst wird Hugo Riemanns "Grundriß der Musikwissenschaft" und die dort entwickelte Konzeption einer musikalischen Einheitswissenschaft resümiert. Gegenentwürfe und Kritik von Heinrich Besseler, Paul Bekker und Arthur Wolfgang Cohn werden dargestellt. Schließlich werden Perspektiven skizziert, die sich aus der zwischen 1908 und 1925 geführten Diskussion für die gegenwärtig anstehenden institutionellen und fachlichen Diskussionen in Musikwissenschaft und Musiktheorie ergeben.
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Grüß, Hans. "Über die Tradition des Cantus-firmus-Kanons." Bach-Jahrbuch 71 (March 23, 2018): 135–46. http://dx.doi.org/10.13141/bjb.v19852095.

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Die Kompositionstechniken des Cantus-Firmus-Satzes und Cantus-Firmus-Kanons bilden eine der wichtigen Verbindungen von Bachs Werk mit der Musik des 13. Jahrhunderts. Es handelt sich hier um eine ununterbrochene Tradition, deren Übertragungsweg gleichwohl immer wieder abgeschnitten wurde. Seltsamerweise hat Heinrich Besseler in einem Vortrag zu diesem Thema 1950 diesen Zusammenhang nicht berücksichtigt. (Übertragung des englischen Resümees am Ende des Bandes)
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Billeter, Bernhard. "Modernismen in Johann Sebastian Bachs Kunst der Fuge." Bach-Jahrbuch 87 (March 8, 2018): 23–53. http://dx.doi.org/10.13141/bjb.v20011723.

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In den Analysen der einzelnen Sätze geht es um die Hypothese eines neuen Bildes des späten Johann Sebastian Bach: Bach habe in einem bisher nicht wahrgenommenen Maße die damals modernen Entwicklungen seiner Zeitgenossen hin zur Frühklassik und zum galanten beziehungsweise empfindsamen Stil mitvollzogen. Fassbar wird dies erstens an der Bevorzugung metrisch einfacher, regelmäßiger Taktgruppen in Zweierpotenzen, auch in Fugen und Kanons, zweitens an der Aufgabe des Prinzips der Einheit des Affekts und drittens an motivischer Arbeit, wie sie sich bei Carl Philipp Emanuel Bach und Josef Haydn entwickelte. (Autor, Quelle: Bibliographie des Musikschrifttums online) Vergleiche auch: Heinrich Besseler, Die Echtheit des neuen Bachbildes um 1740 (BJ 1956, S. 66-72)
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Князева, Ж. В. "Exams in Basel. Jacques Handschin’s Correspondence with Gustav Reese, Karl-Allan Moberg and Heinrich Besseler." Научный вестник Московской консерватории, no. 2(33) (June 22, 2018): 66–81. http://dx.doi.org/10.26176/mosconsv.2018.33.2.03.

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Статья представляет публикацию с комментарием неизвестного прежде письма (1937 года) американского музыковеда Густава Риза российскому швейцарцу Жаку Гандшину. В этом документе молодой Риз выражает желание защитить диссертацию в Базеле и просит Гандшина принять его в число своих учеников. На основании анализа нескольких корреспонденций Гандшина в статье рассмотрены причины его отказа. Представленные материалы позволяют по-новому взглянуть на взаимодействие американской и западноевропейской музыковедческих школ второй четверти ХХ века. In a letter to Russian Swiss Jacques Handschin dated 7.10.1937, young American musicologist Gustav Reese expressed his wish to become Handschin’s student and to defend his thesis in Basel. Based on Handschin’s academic correspondence, the article comments on Reese’s proposal and discusses possible reasons for Handschin’s refusal. Reese’s request and Handschin’s letters are taken as examples for the interaction between American and West European musicological schools in the second quarter of the twentieth century.
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Sühring, Peter. "Macht der Refrains im Codex Montpellier." Die Musikforschung 72, no. 1 (September 22, 2021): 38–52. http://dx.doi.org/10.52412/mf.2019.h1.59.

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Little scholarly attention was paid to the origin and rhythmic structure of the Codex Montpellier motets between the early twentieth century and the flurry of (mainly anglophone) research in the last fifteen years. The connecting thread between generations of researchers had torn and the work of Gustav Jacobsthal (1845-1912) and Yvonne Rokseth (1890-1948) have not been integrated into the state of research: Rokseth's views were forgotten after the Second World War, while Jacobsthal's results were published posthumously only in 2010. This article demonstrates the congruence of their methods and conclusions, especially regarding the influence of the refrains on the early motets, based on quotations from Jacobsthal papers and Rokseth's observations published in 1939. Furthermore it reviews the German-French interrelations in the interpretation of the early motets since the mid-nineteenth century, particularly the similarities and differences between Rokseth and representatives of the "school" of Friedrich Ludwig respectively. In addition, the article offers the first publication if a letter by Heinrich Besseler to Rokseth from 1934, as well as excerpts from her inaugural lecture at Strasbourg 1937.
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Lindmayr-Brandl, Andrea. "THE MODERN INVENTION OF THE ‘TENORLIED’: A HISTORIOGRAPHY OF THE EARLY GERMAN LIED SETTING." Early Music History 32 (2013): 119–77. http://dx.doi.org/10.1017/s026112791300003x.

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The early German lied setting is the musical genre that is considered to be the first polyphonic art form in German music. The genre was revived in the nineteenth century in the context of early nationalism, linked with the idea of ‘Volkslied’. This article traces the evolution of the ‘Tenorlied theory’ in early musicology, featuring prominent figures such as Arnold Schering, Hans Joachim Moser and Heinrich Besseler, and connects it with a specific performance practice that developed simultaneously with the emergence of various amateur musical circles: the Jugendmusikbewegung, the male choir movement, the Hausmusik movement and the Collegium musicum. A fatal period in the history of the early German lied setting led to the politicisation of its repertory in the Third Reich. Ludwig Senfl, a German hero of early times, provides a case study in point. The years after the Second World War were characterised by efforts to standardise the performance practice of the lied as well as the usage of the term ‘Tenorlied’, while still insisting on the German identity of the genre.
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VIEIRA DE CARVALHO, MÁRIO. "Between Political Engagement and Aesthetic Autonomy: Fernando Lopes-Graça's Dialectical Approach to Music and Politics." Twentieth-Century Music 8, no. 2 (September 2011): 175–202. http://dx.doi.org/10.1017/s1478572212000072.

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AbstractIn this article the highly contested relationship between art and politics in the twentieth century is discussed by way of the life and work of the Portuguese composer Fernando Lopes-Graça (1906–94). Lopes-Graça, who described himself as ‘a communist from birth’, lived for almost fifty years in Salazar's ‘New State’, a Fascist-type dictatorship, which emerged from a military putsch in 1926 and lasted until 1974. His experience as a communist under a right-wing régime was therefore very different from that of either communist composers living in Western democratic countries or those active in the Eastern bloc. Lopes-Graça stood apart from most other party intellectuals in his resistance to the doctrine of socialist realism. Yet from 1945 onwards he composed revolutionary songs in which his communist engagement is directly evident. Understanding this apparent tension within his output requires both a careful and nuanced understanding of his own personal position and a clear distinction between political engagement in music on the one hand and socialist realist or neo-realist tendencies on the other. It is that latter distinction – between (in the composer's own terms) ‘lived action’ and ‘imagined action’ – that accounts for the seemingly contradictory coexistence in Lopes-Graça's thinking of aesthetic autonomy and political commitment, and in his music of (to adopt categories posited by Heinrich Besseler) both ‘presentational’ music (for conventional concert settings) and ‘colloquial’ music (to be sung and played ad libitum in political meetings, at demonstrations, in the home, or even in political prisons).
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Gerhard, Anselm. "Musicology in the "Third Reich": A Preliminary Report." Journal of Musicology 18, no. 4 (2001): 517–43. http://dx.doi.org/10.1525/jm.2001.18.4.517.

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Recent studies of musicology under the Nazi regime make it plausible to reach some conclusions, drawing particularly on four case studies: Heinrich Besseler, Friedrich Blume, Hans Joachim Moser, and (as a counterexample) Alfred Einstein. First, musicology is a small discipline and in 1933 was even smaller, making it particularly open to intrigue. Personal loyalties were more important than political and ideological ones; patriarchal teacher-student relations had more weight than factions born of clashes between rival groups within the National Socialist regime. Second, musicology is a decidedly German discipline: Into the 1930s, it existed as a university subject largely in the three German-speaking countries. A tradition of musicological scholarship that was firmly convinced of the preeminence of its own national heritage did not need to accommodate itself in the first place to the German jingoism of the National Socialists. On the contrary, scholars had perhaps more freedom because their national orientation could never seriously be doubted. Third, music as a conceptless art was not easily subsumed under "racial" and "vöölkisch" constructs. Many during the "third Reich" tried to explain European music history by drawing on the spirit of contemporary studies of race, but they often had to admit the difficulty if not the utter failure of the enterprise. In comparison with other disciplines it is noticeable that only those outside the university formulated overwhelmingly racist accounts of music history, and they could not pass muster with their nationalist or National Socialist colleagues. Finally, university musicologists, no less than their colleagues active in the Amt Rosenberg or in the Propagandaministerium, shared responsibility for a discourse of exclusion and vöölkisch terror both inside and outside the country. Culpability must be investigated individually, but a look at the field as a whole makes it possible to understand how after 1945, musicologists in the two Germanys and Austria could without difficulty resume work broken off before the final collapse of the National Socialist regime.
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Dissertations / Theses on the topic "Heinrich Besseler"

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Zhang, Dongyang [Verfasser], and Hans-Heinrich [Akademischer Betreuer] Trute. "Bessere Daseinsvorsorge durch Regulierung im Bereich des ÖPNV - Rechtliche Hinweise für China / Dongyang Zhang ; Betreuer: Hans-Heinrich Trute." Hamburg : Staats- und Universitätsbibliothek Hamburg, 2018. http://d-nb.info/1152384295/34.

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Books on the topic "Heinrich Besseler"

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Peter, Klaus. Ikarus in Preussen: Heinrich von Kleists Traum von einer besseren Welt. Heidelberg: Universitätsverlag Winter, 2007.

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Die Akte Heinrich Besseler. 2005.

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Book chapters on the topic "Heinrich Besseler"

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Lütteken, Laurenz. "Das Musikwerk im Spannungsfeld von »Ausdruck« und »Erleben«: Heinrich Besselers musikhistoriographischer Ansatz." In Musikwissenschaft — eine verspätete Disziplin?, 213–32. Stuttgart: J.B. Metzler, 2000. http://dx.doi.org/10.1007/978-3-476-03772-5_12.

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Briegleb, Klaus. "“Das bessere Lied” — Nachmärz im Vormärz Zu Heinrich Heines Weg der Kunst Dezember 1841 — Januar 1844." In Nachmärz, 20–42. Wiesbaden: VS Verlag für Sozialwissenschaften, 1996. http://dx.doi.org/10.1007/978-3-322-94227-2_1.

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Füllner, Karin. "»Ein neues Lied, ein besseres Lied« 17. Forum Junge Heine Forschung 2014 mit neuen Arbeiten über Heinrich Heine." In Heine-Jahrbuch 2015, 220–24. Stuttgart: J.B. Metzler, 2015. http://dx.doi.org/10.1007/978-3-476-01400-9_16.

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Mannaerts, Pieter. "Besseler, Heinrich." In Handbook of Medieval Studies, edited by Albrecht Classen. Berlin, New York: De Gruyter, 2010. http://dx.doi.org/10.1515/9783110215588.2180.

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Duttlinger, Carolin. "Musical Listening between Immersion and Detachment." In Attention and Distraction in Modern German Literature, Thought, and Culture, 317—C9.P63. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192856302.003.0010.

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Abstract The ideal of contemplative listening emerged around 1800, in the context of the Romantic notion of Kunstreligion (art religion); this model was cemented and invested with a moral dimension in Eduard Hanslick’s treatise On the Musically Beautiful (1854), which emphasized the need to listen attentively rather than in a passive and ‘culinary’ fashion. In the early twentieth century the perceived gradual decline of sustained listening diagnosed by Hanslick turned into a full-blown crisis as new, popular and casual musical formats took hold in modern culture. However, responses to this shift were far from uniform. While some music critics and practitioners tried to restore contemplative listening in their audiences and bring classical music to new social groups, the musicologist and Heidegger pupil Heinrich Besseler pursued a different route. An advocate of Gebrauchsmusik, which breaks down the divide between performers and listeners, he turned to examples of embodied, only semi-attentive listening practices in the early modern period as a model for musical culture in the twentieth century.
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Flohé, Sascha, and Joachim Windolf. "Bessere Schwerstverletztenprognose in Deutschland – von der Damage-Control-Chirurgie bis zum Traumanetz." In Neues aus Wissenschaft und Lehre der Heinrich-Heine-Universität Düsseldorf 2010, 23–30. De Gruyter, 2021. http://dx.doi.org/10.1515/9783110720051-005.

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