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Feindliche Übernahme. Gottfried Weber, Adolf Bernhard Marx und die bürgerliche Harmonielehre des 19. Jahrhunderts
... On the other hand it is precisely the disruptions and shifts in the history of a concept that make the divergence between concept and matter perceptible, that show the contingency of today's concepts, that enable diagnosis and anamnesis of current situations, and that open up glimpses of those ideas of the past that have been repressed, glimpses of that which was not realised or lost. Hence such an attempt might prove illuminative in our context for those sharing professions that frequently feel themselves to be "nicht Kunst, nicht Wissenschaft" (Holtmeier 1997), neither "art" (in the modern sense of "fine art") nor "science" (in the modern narrow but paradigmatic sense of "natural sciences"), nor even an ars in the mediaeval sense of the academic liberal ars musica (a speculative science, actually), but maybe something close to an ars in the other mediaeval and more Aristotelian sense of "habitus quidam cum racione factivus," an attitude concerned with making (and with things that are made) that also involves reasoning. Or (to stress the aspect of experimentum), an attitude concerned with embodied remembrances of actions and sensations that also involves theoretical, methodological, and historical reflection. ...
... For example, Lindley (1987a, 1997.Lindley and Ortgies (2006) may also be of interest. 2 During his two presentations at the Orpheus Academy 2011, several music examples were played on the harpsichord. ...
... Den eksplosive veksten i produksjonen av moderne, systematiske og tidvis teksttunge laerebøker inkluderte mange verker ment for et voksende publikum av musikkstuderende, både i og utenfor universitetene og konservatoriene. Denne «borgerlige harmonilaeren» (Holtmeier, 2012) skilte seg fra det som hadde vaert den dominerende pedagogikken på 1700-tallet, som i større grad hadde vaert orientert mot praktiske øvelser ved klaveret og tett knyttet til samtidens improvisatoriskkompositoriske praksis (Gjerdingen, 2020;Sanguinetti, 2012). Det er innenfor rammene til den da godt etablerte sjangeren av moderne teorilaerebøker Riemann mot slutten av 1800-tallet skulle lansere sin funksjonsteori. ...
Post-Riemannian function theory has held a strong position in Norwegian music education during the past fifty years. How has this tradition in Western music theory in general, and in Norway in particular, been historically constructed? The article provides a historical overview of (post-)Riemannian function theory, its pre-history and its reception. It does so based on the extensive literature on this topic in English-, German- and Scandinavian-language music research as well as central primary sources. In addition to providing the first survey of this literature in Norwegian, a central contribution of this article is to relate this field of research to the music theory context in Norway. The article discusses how Norwegian music theorists adopted function theory rather late (compared to, for instance, their Swedish and Danish colleagues) and how they preferred to adapt it in a manner that made the function symbols as similar to the older Roman numerals as possible. Drawing on the historical overview and the discussion of function theory in Norway, the final section of the article briefly addresses some general challenges with (post-)Riemannian function theory.
This article provides a detailed discussion of the pedagogy and legacy of Ernst Friedrich Richter (1808–79). A theory teacher at the Leipzig Conservatory since its founding in 1843, Richter is most famous for authoring one of the most enduring harmony manuals—the Lehrbuch der Harmonie (1853)—which, among other things, was instrumental in popularizing the use of Roman numeral analysis in harmony pedagogy. Gaining a hegemonic position in the Western music theory discourse of the late nineteenth century, he played a key role in shaping the common practice of modern music theory pedagogy. Richter’s legacy has been tainted by critiques from several later theorists. Applying a Foucauldian discourse-theoretical lens, this article attempts to look beyond this historically negative assessment by asking what enabled Richter’s work to become so influential. The article is structured in six sections. Following the introduction and a brief overview of E. F. Richter’s life and works, two sections discuss what characterizes “Richterian” pedagogy. As source material, these sections draw on Richter’s writings as well as the exercises of one of his most famous students, Edvard Grieg (1843–1907). The last section before the conclusion investigates Richter’s legacy, considering both his initial broad international success and later critiques of his influence on modern music theory pedagogy.
The history of music theory, as it has usually been taught in the United States, has focused on a small canon of texts written mostly in Latin, Italian, French, and German. This article advocates a more expansive view of the subdiscipline's remit by way of three case studies. The first considers the distinction that Abū Nasr Muhammad ibn al-Farakh al-Fārābī draws between the speculative and active parts of music theory and its influence on the formation of the discipline in the Latin-speaking world. The second considers entanglement between French and Chinese music theorizing in the later eighteenth century. The third treats the international contexts of Hugo Riemann's thought. I present these three case studies, together with more general reflections on the possible scope of research on historical music theory, with the aim of inviting reflection on the subdiscipline's past, present, and future.
What characterized conservatory music theory pedagogy in nineteenth-century Europe? This article discusses the traditions of music theory pedagogy associated with the conservatories in Paris, Vienna, and Leipzig, specifically focusing on the middle of the nineteenth century (ca. 1830–70). In the first section, the characteristics of the three individual traditions are discussed separately. The second section compares these traditions from three perspectives: theoretical framework, pedagogical approach, and historical legacy. Although the traditions are different on several central points (e.g., ties to Italian partimento pedagogy in Paris, to Ramellian fundamental bass in Vienna, and to Weberian Roman numeral analysis in Leipzig), they also have some fundamental similarities that drew the borders—the defining limits—of conservatory music theory. The author argues that in the nineteenth century the idea of music theory as a primarily written discipline (centered on textbooks and written exercises and largely separated from musical performance) became a central element of these general characteristics of music theory pedagogy that would be taken for granted and accepted as self-evident across institutional traditions.
This article illuminates the modern concept of the triadic root by analyzing that concept and explaining how the English-speaking world came to refer to it with the term root. To do so, it begins by identifying five subconcepts on which theorists have drawn when explaining and applying the root concept in their treatises. The article then addresses the origin of the term root in English-language theory, noting that the term first emerged only in 1806, far later than its modern-day ubiquity would suggest. This late emergence is explained as a side effect of the idiosyncratic state of triadic theorizing in eighteenth-century Britain. The author advances a new interpretation that, as a result of the overtone-based preoccupations of erudite authors and the particular emphases of thoroughbass teachers, British theorists did not use a fully realized triadic theory until much later than has been supposed. The conclusion of the article traces the process by which the term root gained ascendancy in English texts and considers how this history fits into larger trends of thoroughbass and harmony instruction.
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