Obwohl die Theatralisierung der Musik ein entscheidender Aspekt der Neuen Musik ist, der im Szenario nach 1945 noch mehr an Bedeutung gewinnt, kann die aber auch als Ausdruck einer musikalischen Wende zum Leib verstanden werden. Um von einer Wende zum Leib in der Musik zu sprechen, muss man auch eine Form des Dualismus zu überwinden. Durch die Werke avantgardistischer Komponisten wird in dieser Arbeit versucht, ein Verständnis der Musikwahrnehmung aufzubauen. / It is our thesis that, even though the theatricalization of music is a crucial aspect of the Neue Musik – one that gain even more prominence on the post-1945 scenario –, it is also an expression of a corporeal turn in music. To speak of a corporeal turn in music also means an attempt to overcome a form of dualism. It is an attempt to unify music making and music perception. This is what will be attempted here. Through the works of avant-garde composers, an attempt to build an understanding of music perception in the context of a corporeal turn in music will be made. From the perception of the body and corporeity to the move from “listening” to “perceiving” and, finally, in the concept of the work of music as a phenomenal field, a physiological perception of the avant-garde will be developed.
| Identifer | oai:union.ndltd.org:HUMBOLT/oai:edoc.hu-berlin.de:18452/24062 |
| Date | 04 October 2021 |
| Creators | Rievers, Henrique André Christiano |
| Contributors | Danuser, Hermann, Stollberg, Arne |
| Publisher | Humboldt-Universität zu Berlin |
| Source Sets | Humboldt University of Berlin |
| Language | English |
| Detected Language | English |
| Type | doctoralThesis, doc-type:doctoralThesis |
| Format | application/pdf |
| Rights | (CC BY-NC-ND 4.0) Attribution-NonCommercial-NoDerivatives 4.0 International, https://creativecommons.org/licenses/by-nc-nd/4.0/ |
Page generated in 0.008 seconds