Dieses Buch versucht ein in der Musik des 20. und 21. Jahrhunderts zunehmend an Bedeutung gewinnendes Verständnis von „Musik als Wahrnehmungskunst“ (Helmut Lachenmann) für die Musikwissenschaft fruchtbar zu machen: Die ineinander verschränkten Konzepte der performativen Analyse und des performativen Hörens rücken Wahrnehmungsprozesse ins Zentrum musikologischer Methodik. Zum einen wird dabei die zentrale Stellung von Klang, Zeit und Raum in der neuen Musik seit 1900 in breite musikhistorische und -ästhetische Diskurse eingebettet, zum anderen wird mit dem Prinzip der musikalischen Morphosyntax klangliche Materialität als Ausgangspunkt hörend-analytischer Forschung begriffen. Wahrnehmung posttonaler Musik ist als performative Aktivität durch die Erfahrungen des Alltags- und Musikhörens vielfältig ausgestaltbar und dabei durch eine Verflechtung von morphologischen und metaphorischen Schichten geprägt. Die Analysen werfen so neue Perspektiven auf ein breites Spektrum posttonaler Instrumentalmusik von Arnold Schönberg, Edgard Varèse, Giacinto Scelsi, Bernd Alois Zimmermann, György Ligeti, Pierre Boulez, Morton Feldman, György Kurtág, Helmut Lachenmann, Brian Ferneyhough, Gérard Grisey, Salvatore Sciarrino und Isabel Mundry. / This book tries to produce an understanding of “music as an art of perception” (Helmut Lachenmann) – which is becoming increasingly important in the music of the 20th and 21st centuries – in a way that is fruitful for musicology: the intertwined concepts of performative analysis and performative listening move perception processes into the centre of musicological methodology. On the one hand, Christian Utz embeds the central position of sound, time, and space in new music since 1900 in broad music-historical and music-aesthetic discourses, on the other hand, he understands sounding materiality as the starting point for listening-based analytical research, grounded in the principle of musical morphosyntax. As a performative activity, the perception of post-tonal music can be shaped in a variety of ways through the experiences of everyday auditory perception and musical listening and is characterized by an interweaving of morphological and metaphorical layers. The analyses reveal new perspectives on a broad spectrum of post-tonal instrumental music by Arnold Schoenberg, Edgard Varèse, Giacinto Scelsi, Bernd Alois Zimmermann, György Ligeti, Pierre Boulez, Morton Feldman, György Kurtág, Helmut Lachenmann, Brian Ferneyhough, Gérard Grisey, Salvatore Sciarrino, and Isabel Mundry.

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Submitted by Renata Lopes (renatasil82@gmail.com) on 2015-12-07T16:46:12Z No. of bitstreams: 1 guilhermerafaelsoares.pdf: 5619162 bytes, checksum: 75fa907e315795bd1f893ed8c941e9bd (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2015-12-07T21:41:38Z (GMT) No. of bitstreams: 1 guilhermerafaelsoares.pdf: 5619162 bytes, checksum: 75fa907e315795bd1f893ed8c941e9bd (MD5) / Made available in DSpace on 2015-12-07T21:41:38Z (GMT). No. of bitstreams: 1 guilhermerafaelsoares.pdf: 5619162 bytes, checksum: 75fa907e315795bd1f893ed8c941e9bd (MD5) Previous issue date: 2015-03-30 / FAPEMIG - Fundação de Amparo à Pesquisa do Estado de Minas Gerais / Esta pesquisa sistematiza um catálogo de experimentos constituído de estudos musicais e seus algoritmos geradores, organizando procedimentos para composição assistida por computador orientados por regras derivadas de análises musicais de contexto pós-tonal. Os procedimentos são inspirados em apontamentos de estudos sobre pós-tonalidade no compositor Béla Bartók, encontrados nas obras de Lendvai (1971), Antokoletz (1984), Cohn (1991) e Suchoff (2004). Problematizam-se aqui os conceitos de ciclos intervalares, eixos de simetria, polimodalismo e peculiaridades de coleções referenciais de classes de altura - conforme sugestões de Forte (1973), Straus (2004) e Susanni e Antokoletz (2012). São detalhadas questões computacionais para esta implementação, utilizando como base as ferramentas OpenMusic e biblioteca Python Music21. Um legado em código aberto fica disponível para continuidades possíveis deste trabalho. / This research produces a catalog of experiments in musical studies and its related generative algorithms, organizing procedures for computer aided composition oriented by constraints extracted from post-tonal musical analyses. The procedures are inspired by post-tonality studies of Béla Bartók’s music, found in the works of Lendvai (1971), Antokoletz (1984), Cohn (1991) and Suchoff (2004). Main focus on problematization of interval cycles, symmetry axis, polymodalism and peculiarity of referencial collections from pitch-class set theory - as sugested by Forte (1973), Straus (2004) and Susanni e Antokoletz (2012). Details of computational issues for the implementation, using the open source tools OpenMusic and Music21 (python library) as base.