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Autoren:
Verlag:
UTB Weitere Titel dieses Verlages anzeigen
1 | Einleitung | 13 |
1.1 | Aufbau der Vorlesung | 13 |
1.2 | Lektürehinweise | 14 |
1.3 | Allgemeine Probleme der Musikgeschichtsschreibung | 15 |
1 | Ältere Musikgeschichte bis | 1800 |
2 | Antikes Griechenland | 23 |
2.1 | Götter, Musen und Helden in Epos und Mythos | 24 |
2.2 | Gattungen und Instrumente | 26 |
2.3 | Pythagoras | 30 |
2.4 | Pythagoreische Grundlagenforschung | 31 |
2.5 | Aristoxenos | 33 |
3 | Geistliche Musik des Mittelalters | 35 |
3.1 | Frühmittelalterliche Psalmodie | 36 |
3.2 | Hymnen | 37 |
3.3 | Gregor ianik | 39 |
3.4 | Sequenzen | 41 |
3.5 | Notre-Dame-Epoche | 44 |
4 | Weltliche Musik des Mittelalters | 49 |
4.1 | Musikinstrumente des Mittelalters | 49 |
4.2 | Okzitanien und die Kunst der Troubadoure | 50 |
4.3 | Trouvere-Musik | 54 |
4.4 | Minnesang | 56 |
5 | Hochmittelalter | 59 |
5.1 | Die sieben freien Künste | 59 |
5.2 | Ars antiqua | 61 |
5.3 | >Roman de Fauveh | 65 |
5.4 | Ars nova | 66 |
5.5 | Trecento | 71 |
6 | Renaissance | 73 |
6.1 | Die Epoche >Renaissance< in der Musik | 73 |
6.2 | Dufay | 76 |
6.3 | >Nuper rosarum flores< | 79 |
6.4 | Ockeghem | 80 |
6.5 | Josquin | 84 |
7 | Spätniederländisches Zeitalter | 88 |
7.1 | >Durchimitierender a cappella-Stil< | 88 |
7.2 | Das deutsche mehrstimmige Lied | 90 |
7.3 | Das italienische Madrigal | 91 |
7.4 | Die französische Chanson | 93 |
7.5 | Palestrina | 94 |
7.6 | Lasso | 96 |
7.7 | Gabrieli | 99 |
8 | Englands Elisabethanisches Zeitalter | 101 |
8.1 | Tallis und Byrd | 103 |
8.2 | Consort-Musik | 104 |
8.3 | Virginal-Musik | 105 |
8.4 | Das Lauten-begleitete Sololied | 106 |
8.5 | Der Epochenwechsel um 1600 • Was ist >Barock<? | 108 |
9 | Entstehung der Oper | 111 |
9.1 | Monodie | 111 |
9.2 | Monteverdis >Orfeo< | 113 |
9.3 | Venezianische Oper | 118 |
9.4 | Allegris >Miserere< | 119 |
10 | Das Protestantische Deutschland • Instrumentalmusik | 122 |
10.1 | Heinrich Schütz | 124 |
10.2 | Exkurs zur Affekten- und Figurenlehre | 126 |
10.3 | Zur Entwicklung der Instrumentalmusik | 129 |
10.4 | Sweelinck | 131 |
10.5 | Froberger | 132 |
10.6 | Streichinstrumente | 133 |
10.7 | Corellis Triosonate | 135 |
11 | Metastasianische Oper • Händel | 137 |
11.1 | Opernreformen | 137 |
11.2 | Die Kastraten | 138 |
11.3 | Händel als >Unternehmer< | 142 |
11.4 | Händeis Oper >Rinaldo< | 144 |
11.5 | Händeis Oratorien | 144 |
12 | Frankreich im 17./18. Jhdt. • Vivaldis Konzertform | 147 |
12.1 | Von Kepler zu Descartes | 147 |
12.2 | Die Querelles | 150 |
12.3 | Couperin | 151 |
12.4 | >Ballet de cour< und >Tragedie en musique< | 152 |
12.5 | Rameau als Opernkomponist | 154 |
12.6 | Das Vivaldische Konzert | 155 |
13 | Frühklassik • J. S. Bach | 157 |
13.1 | Was ist >Klassik<? | 157 |
13.2 | Johann Sebastian Bach | 159 |
13.3 | >Neue Italiener | 164 |
14 | Instrumentalmusik der Klassik | 168 |
14.1 | Berliner Schule • Empfindsamkeit | 168 |
14.2 | Mannheimer Schule | 170 |
14.3 | Haydn | 173 |
14.4 | Haydns Streichquartette op. 33 | 174 |
14.5 | Mozarts >galant-gelehrter< Stil | 176 |
14.6 | Mozarts Klavierkonzerte | 178 |
14.7 | Ästhetik der Hochklassik | 179 |
15 | Vokalmusik der Klassik | 181 |
15.1 | Jommelli | 182 |
15.2 | Gluck | 185 |
15.3 | Das Singspiel | 187 |
15.4 | Mozarts >opera buffa< | 188 |
15.5 | Kirchenmusik | 193 |
II Neuere Musikgeschichte ab | 1800 | |
16 | Beethoven | 197 |
16.1 | Vorbemerkung zur Gliederung des zweiten Teils | 197 |
16.2 | Beethoven und das Beethovenbild des 19. Jhdts | 199 |
16.3 | Schaffensweise | 201 |
16.4 | Das >Beethovensche< | 202 |
16.5 | Spätwerk | 203 |
17 | Romantische Musikästhetik | 207 |
17.1 | Frühromantiker | 207 |
17.2 | Wackenroder und E. T. A. Hoffmann | 209 |
17.3 | Romantische Stilmittel | 210 |
17.4 | Schuberts Klavierlied | 212 |
17.5 | Romantischer Orchestersatz | 214 |
18 | Musikalische Romantik | 217 |
18.1 | Weitere Entwicklung des romantischen Kunstlieds | 217 |
18.2 | Romantische Klaviermusik | 220 |
18.3 | Kammermusik | 221 |
18.4 | Der romantische Künstler | 222 |
18.5 | Klassizismus und Historismus | 223 |
18.6 | Mendelssohn Bartholdys Oratorien | 226 |
1 | Programmusik und Neudeutsche Schule | 22 |
1.1 | Gesangsvereine und Chorsingen | 22 |
19.2 | Berlioz' >Symphonie fantastique< | 230 |
19.3 | Liszt und die >Sinfonische Dichtung< | 234 |
19.4 | Liszts später Klavierstil | 237 |
20 | Oper im 19. Jahrhundert | 238 |
20.1 | Romantische Oper | 238 |
20.2 | Wagners Musikdramen | 239 |
20.3 | Rossini und die italienische Oper | 244 |
20.4 | Bellini | 247 |
20.5 | Verdi | 247 |
21 | Sinfonik im späten 19. Jahrhundert | 251 |
21.1 | Bruckner | 255 |
21.2 | Mahler | 257 |
22 | Exotismus | 264 |
22.1 | Das >indische< Melodram >Dirna< | 266 |
22.2 | Tendenzen russischer Musik | 267 |
22.3 | >Pagodes< | 269 |
22.4 | Mahlers >Lied von der Erde< | 270 |
22.5 | >Turandot< | 272 |
23 | Debussy • Skrjabin | 274 |
23.1 | Jahrhundertwende | 274 |
23.2 | Debussy | 274 |
23.3 | Skrjabin als Mystiker und Theosoph | 279 |
23.4 | >Promethee< | 281 |
24 | Expressionismus • Freie Atonalität | 285 |
24.1 | Systematik des expressionistischen Stils in der Musik | 287 |
24.2 | Freie Atonalität | 288 |
24.3 | Schönbergs >Erwartung< und >Pierrot lunaire< | 290 |
24.4 | Bergs Orchesterstücke op. 6 | 297 |
25 | Dodekaphonie | 298 |
25.1 | Hauers Tropen | 302 |
25.2 | Schönbergs >Suite für Klavier< op. 25 | 303 |
25.3 | Webern | 304 |
25 | 4 BerS | 305 |
26 | Paris • Neoklassizismus | 308 |
26.1 | Die >Ballets Russes< | 309 |
26.2 | Satie, Cocteau und die >groupe des six< | 311 |
26.3 | Hindemiths Klaviersuite >1922< | 314 |
26.4 Erik Satie.......................................... | ||
26.5 | Strawinskys neoklassizistische Periode | 318 |
27 | Avantgarde nach 1945 | 321 |
27.1 | Serielle Musik | 322 |
27.2 | Elektronische Musik | 325 |
27.3 | Klangkomposition | 326 |
27.4 | Aleatorik | 328 |
27.5 | Ives' >The Unanswered Question< | 331 |
28 | Pluralismus | 334 |
28.1 | Bartöks dritter Weg | 334 |
28.2 | Pluralismus - Postmoderne | 337 |
28.3 | Berios >Sinfonia< und Kagels Radiophantasie >Rrrrrrr...< | 339 |
Anmerkungen | 347 | |
Abkürzungen | 357 | |
Personenregister | 359 | |
Abendroth 256
Abert 349
Absalon (AT) 125
Achilles 24
Adami 273
Aderhold 351
Adler 17
Adorno 258, 294,300, 304,
307 f., 334, 338, 352 ff.
Agazzari 94
Agricola 87
d'Agoult 234, 237
Aischylos 27
Albert 5
Alberti, D. 164,167
Alberti, L. B. 79, 348
Albrecht V. 97
d'Alembert 16, 341
Alexander II. 267
Alexander d. Gr. 138
Alfons d. Weise 50
Alkaios 26
Allegri 119 f.
Allende-Blin 274, 339
Alt 353
Altenberg 290, 353
Altenburg 237
Altmann 350
Altoum 272
Amati 134
Ambrosius 38
Amigoni 140
Amiot 264
Amphion 25
d'Annunzio 318
Anonymus IV 45, 47
Ansermet 311,314
Ansorge 288
Antiope 25
Apel 239
Aphrodite 277
Apollon 25 f., 29,114
Arcadelt 92
Archytas 30, 60
Arion 25
Aristoteles 25, 33
Aristoxenos 30,33 f., 60
Arndt 354
von Arnim, A. 259 f., 350
von Arnim, B. 199
Artus 51
Athene 25
Attaignant 93
Auden 320
Augustus 151
Auric 312 ff.
Bach,J.C. 16,160
Bach, C. P. E 110,157,159 f., 162,
168 ff., 181 f., 202, 217, 349, 358
Bach, J. S. 15 ff., 84, 96,110,122,
124,129,131,156 f., 159-164,
173,176 f., 204, 224 ff., 252,
277, 303 f., 307, 318, 339, 349
Bakunin 222
Balakirew 267
Balanchine 310
Banck 221
Barbaia 245, 248
Bardesanes 38
Bardi 111 f.
Bartok 287, 334-337, 354
Batka 348
Baudelaire 275, 280, 286, 288
Bauer 350
Bauer-Lechner 352
Baumeister 327
Bayer 348
Beaumarchais 245
Beck 350
Beckett 339
Beethoven 14,18, 84,158,160,
173,197-207, 210 f., 218,
221 ff., 230, 234, 237, 243,
251-255, 258, 263, 275, 294,
308, 329, 336, 339, 350 ff.
Bellini 246 ff.
Bembo 91
Berg 286, 290 f., 297, 304-307,
339, 353
Berlioz 197, 222, 224, 230-235,
237, 248, 258, 296, 351
Berio 339
Bernart de Ventadorn 52 f.
Bernhard 128
Bernini 76
Bernstein 257, 339
Besant 265, 282 f., 353
Besseler 47,157,309, 347 f.
Bethge 270, 272 f.
Betzwieser 273
Binchois 76
Bizet 265
de Blainville 264
Blanchrocher (Blancheroche)
132 f.
Blavatsky 265,280-283,290,353
Bloch 254, 352
Blume 109, 349, 357