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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‘Richte mich, Gott' exemplifies Jaakko Mäntyjärvi's pluralistic compositional approach through an interlaced organization of tonal and non-tonal pitch content. The development of ideas in the text of Psalm 43 and the concluding doxology is depicted across both layers of pitch organization and governed by specific structural pitch collections: (0145) and (0257). Moreover, the organic transformation of these structural pitch collections' intervallic content emerges as a fundamental means of progression throughout the work, in turn influencing the intervallic content of surrounding tonal material. This process of transformation and its relationship to the text is revealed through tonal and pitch-class analysis; a flexible approach to segmentation; and an exploration of two-way and three-way symmetry, and the disruption thereof, in pitch space and pitch-class space. An understanding of the interrelationship between pitch material from the tonal and non-tonal layers of pitch organization can aid singers, conductors, and analysts in the efficacy of their study, preparation, and performance of the psalm. The accompanying appendix of targeted choral warm-ups in this document offers choirs a practical method for studying, internalizing, and performing the non-tonal pitch content in the work.

This study explores the topic of music theory pedagogy in conjunction with the Kodály concept of music education and its North-American adaptation by Lois Choksy. It investigates the compatibility of the Kodály Method with post-secondary instruction in tonal harmony, using a theoretical framework derived from Kodály’s methodology and implemented as a teaching strategy for the dominant-seventh chord. The customary presentation of this concept is authenticated with an empirical case study involving four university professors. Subsequently, Kodály’s four-step instructional process informs a comparative analysis of five university-level textbooks that evaluates the sequential placement of V7, examines the procedure by which it is presented, and considers the inclusion of correlated musical excerpts. Although divergent from traditional approaches to tonal harmony, Kodály’s principles and practices are pedagogically effective. By progressing from concrete to abstract, preceding symbolization with extensive musical experience, conceptual understandings are not only intellectualized, but are developed and internalized.

This study explores the topic of music theory pedagogy in conjunction with the Kodály concept of music education and its North-American adaptation by Lois Choksy. It investigates the compatibility of the Kodály Method with post-secondary instruction in tonal harmony, using a theoretical framework derived from Kodály’s methodology and implemented as a teaching strategy for the dominant-seventh chord. The customary presentation of this concept is authenticated with an empirical case study involving four university professors. Subsequently, Kodály’s four-step instructional process informs a comparative analysis of five university-level textbooks that evaluates the sequential placement of V7, examines the procedure by which it is presented, and considers the inclusion of correlated musical excerpts. Although divergent from traditional approaches to tonal harmony, Kodály’s principles and practices are pedagogically effective. By progressing from concrete to abstract, preceding symbolization with extensive musical experience, conceptual understandings are not only intellectualized, but are developed and internalized.

This study explores the topic of music theory pedagogy in conjunction with the Kodály concept of music education and its North-American adaptation by Lois Choksy. It investigates the compatibility of the Kodály Method with post-secondary instruction in tonal harmony, using a theoretical framework derived from Kodály’s methodology and implemented as a teaching strategy for the dominant-seventh chord. The customary presentation of this concept is authenticated with an empirical case study involving four university professors. Subsequently, Kodály’s four-step instructional process informs a comparative analysis of five university-level textbooks that evaluates the sequential placement of V7, examines the procedure by which it is presented, and considers the inclusion of correlated musical excerpts. Although divergent from traditional approaches to tonal harmony, Kodály’s principles and practices are pedagogically effective. By progressing from concrete to abstract, preceding symbolization with extensive musical experience, conceptual understandings are not only intellectualized, but are developed and internalized.